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A  BRIEF  GUIDE 

TO  THE 

Department  of  Fine  Arts 

Panama-Pacific  Internationa!  Exposition 
San  Francisco,  California 

19  15 


i 

WAm 


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THE  ONLY  COMPLETE,  OFFICIAL  AND 
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The  SCULPTURE 
an  J  MURALS 

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PANAMA-PACIFIC 
INTERNATIONAL 
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BY 
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Published  by  THE  WAHLGREEN  COMPANY.  Official 
Publishers  to  the  Panama  -  Pacific  International  Exposition 


A  Brief  Guide 


to  the 


Department  of  Fine  Arts 


By  MICHAEL  WILLIAMS 


Copyright  1915  by  The  Wahl green  Co. 


THE  WAHLGREEN  CO  .  Publishers 
San  Francisco 


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GALLERIES 


ANNEX 

PALACE  OF    FINE  ARTS 

PANAMA-PACIFIC  INTERNATIONAL  EXPOSITION 

OPCNS.fCB«0*RY    10  5AN    FRANCISCO     U.S.A.I9I5  CLOSCS-OtCCMSCR    ♦ 


310093 


In  both  the  United  States  and  the  Foreign 
Sections  of  the  Department  of  Fine  Arts  most  of 
the  works  exhibited  by  artists  are  for  sale  at  studio 
prices. 

The  Department  has  made  especial  effort  to 
induce  artists  to  show  their  best  and  most  repre- 
sentative works,  and  in  this  effort  it  believes  it  has 
been  in  the  main  successful. 

The  attention  of  collectors  and  art  lovers  is 
especially  directed  to  this  unusual  opportunity  for 
securing  works  of  enduring  value  which  have  al- 
ready received  the  imprimatur  of  juries  of  experts. 

To  the  visitor  who  is  not  essentially  a  col- 
lector of  works  of  art,  but  who  may  desire  a  sou- 
venir of  the  Exposition  which  will  be  of  more  than 
passing  interest,  especial  consideration  is  directed 
to  the  prints  and  small  bronzes  which  are  included 
in  this  exhibition. 

For  the  convenience  of  purchasers  there  will 
be  constantly  in  the  galleries  the  sales  manager  of 
the  Department  or  some  one  of  his  assistants,  from 
whom  information  may  be  had  regarding  prices, 
and  exhibits  of  artists. 


CONTENTS 


Introductory  note. 

Chapter  I  —The  antecedents  of  American  Art;  Being  a  Pre- 
paratory Glimpse  at  the  Old  Masters,  as  Sug- 
gested by  Rooms  Nos.  91  and  63. 

Chapter  II  — Pre-Revolutionary  and  Early  American  Art  from 
the  Portrait  Period  of  West,  Copley,  Stuart, 
etc.,  to  the  Beginning  of  the  Hudson  River 
School  of  Landscape  Painters.  Rooms  Nos.  60, 
59  and  58. 

Chapter  III  —Certain  European  Influences:  French,  Dutch,  Span- 
ish, and  especially  the  Barbizon  School.  Rooms 
Nos.  92  and  62. 

Chapter  IV  —The  Dawn  of  Modernity.  Flowering  of  the  Hudson 
River  School.  The  Munich  Influence.  George 
Inness,  Winslow  Homer,  Alexander  Wyant, 
John  LaFarge,  Edwin  A.  Abbey,  Theodore  Rob- 
inson and  the  Rise  of  Impressionism.  Rooms 
Nos.  54,  64,  and  57. 

Chapter  V    — The  French  Impressionists.    Room   No.  61. 

Chapter  VI  — Modern  American  Art.  Room  No.  55  (Alexander 
Harrison),  56,  85  (Horatio  Walker,  C.  W.  Stet- 
son, Douglas  Volk,  DeForest  Brush),  65 
(Woman's  Room:  Mary  Cassatt,  Cecelia 
Beaux,  Violet  Oakley),  80  (Philip  L.  Hale, 
William  Paxton,  Willard  L.  Metcalf),  51  (An- 
shutz,  Henri,  Glackens,  Breckenridge),  50  (Ser- 
geant Kendall),  66  (Entrance  Hall),  67  (Emil 
Carlsen,  Paul  Dougherty,  Haley  Lever,  Charles 
H.  Davies,  Robert  Spencer),  68  (Schofield, 
Gushing,  Ritschel,  Johansen,  Garber),  69  (Al- 
exander, Miller,  Parker,  Woodbury),  70  (Por- 
trait Painters),  71,  72,  73  (Alson  Skinner  Clark, 
Ernest  Lawson,  Gifford  Beal),  74  (C.  J.  Tay- 
lor), 49  (J.  Alden  Weir,  John  McClure  Hamil- 
ton, D.  W.  Tryon),  48,  47,  46,  45  (Robert  Reid, 
Robert   Vonnoh,    E.    F.    Rook,    F.    Luis    Mora, 


Charles  Morris  Young),  44,  43,  117  (Frieseke: 

(Grand    Prize),    118,    120    (George    Bellows). 

Water  Colors  and  Illustrations,  Rooms  26,  36, 

40,  41,  42,  and  119. 
Chapter  VII  —The  Individual  Rooms:     Whistler,  Rooms  28,  29; 

Twachtman,   No.   93;    Tarbell,   No.  89;    Keith, 

No.  90;   Redfield,   No.  88;    Duveneck,   No.  87; 

Chase,  No.  79;  Hassam,  No.  78;  Melchers,  No. 

77;   Mathews  and  MeComas,  No.  76;   Sargent, 

No.   75;    Hamilton,    No.   39;    Pennell,    No.   31; 

Pyle,  Nos.  41  and  42. 
Chapter  VIM — Sculpture. 
Chapter  IX    — Prints. 

Chapter  X  — The  Foreign  Sections:  Argentina,  China,  Cuba. 
France,  Italy,  Japan,  Holland,  Portugal,  The 
Philippines,  Sweden,  and  Uruguay. 

Chapter  XI  — The  Annex:  Norway,  Austria-Hungary,  England, 
Spain,  Finland,  Italian  Futurists   (Besnard). 

Final  Note. 


NOTE 

All  the  principal  nations  of  the  world  have  contributed  to  this 
exhibition,  which  comprises  many  thousands  of  paintings,  sculp- 
ture, prints  and  other  works  of  art.  Obviously  this  little  book 
does  not  attempt  the  tremendous  task  of  describing  all.  Indeed, 
art  is  long  and  life  deplorably  short;  moreover,  only  experts  and 
advanced  students  require  an  exhaustive  manual. 

On  the  other  hand,  it  is  certain  that  many  people  beginning 
the  study  of  art  and  desirous  of  obtaining  more  knowledge  of  the 
great  treasures  contained  in  the  galleries  than  they  could  gain 
by  roaming  haphazardly  through  them  would  be  glad  to  find  an 
elementary  guide,  a  helpful  companion,  as  it  were,  to  assist  them 
toward  an  intelligent  understanding  of  the  exhibition,  pointing 
out  the  chief  facts,  and  directing  attention  in  profitable  directions. 

The  principal  purpose  of  the  exhibition,  it  seems  to  me,  is  to 
illustrate  the  origins,  growth  and  development  of  American  art. 
The  idea  is  sturdily,  splendidly  democratic.  It  brings  the  people 
— the  whole  nation — into  direct,  vital  contact  with  its  own  art  at 
a  time  when  that  art  has  justly  won  a  distinctive,  and  in  many 
respects,  a  high  place  among  the  art  of  other  nations  whose  works 
are  also  abundantly  displayed  at  San  Francisco. 

This  idea  has  been  carried  out  by  means  of  a  logical,  simple 
and  comprehensive  arrangement  of  typical  examples  of  the 
schools  and  the  chief  individual  workers  from  the  earliest  days 
of  American  painting  until  the  present. 

In  fact  it  is  a  sort  of  pageant,  a  progress,  a  connected  pic- 
trial  history  that  we  may  follow  as  we  pass  from  room  to  room; 
and  we  will  make  it  our  main  business  in  these  pages  to  trace 
an  outline  of  this  flowing  stream  of  our  native  art. 

Yet  as  we  study,  or  prepare  to  study,  let  us  also  remember 
that  in  art  it  is  better  to  enjoy  than  to  know,  and  that  unless 
we  can  appreciate  the  emotional,  sensuous,  and  spiritual  values 
expressed  in  form,  line,  or  color,  all  the  facts  and  the  technical 
jargon  with  which  we  may  stuff  ourselves  will  be  futile  and 
burdensome.  So  we  should  not  be  tied  to  a  stiff  and  pedantic 
programme,  but  seek  the  primrose  paths  of  artistic  pleasure 
rather  than  the  prosy  halls  of  knowledge. 

Nevertheless,  an  equipment  of  information  will  help  and  not 
hinder  the  enjoyment  of  art.  This  exhibition  is  doing  a  wonder- 
ful work  in  spreading  knowledge  and  appreciation  among  the 
people,  especially  the  people  of  the  West,  and  we  may  profitably 


recall  what  Reinach  said  in  the  last  pages  of  his  "Apollo":  "Far 
from  believing  that  the  social  mission  of  art  is  at  an  end,  or 
drawing  near  that  end,  I  think  it  will  play  a  greater  part  in  the 
twentieth  century  than  ever.  And  I  think — or  at  least  hope — 
that  greater  importance  than  ever  will  be  attached  to  the  study 
of  art  as  a  branch  of  culture.  This  study  is  one  which  no  civilized 
man,  whatever  his  profession,  should  ignore  in  these  days." 


CHAPTER    I. 

The  Antecedents  of  American  Art. 

Room  No.  91. 

I  take  it  for  granted  that  before  you  turn  to  this  little  guide 
you  have  wandered  in  and  about  the  Palace  of  Art,  absorbing  the 
romantic  and  elegaic  beauty  of  its  exterior  setting,  becoming 
familiar  with  the  outdoor  installation  of  the  statuary — a  uniquely 
attractive  idea — and  visiting  in  a  general  way  many  of  the  gal- 
leries devoted  to  famous  painters,  together  with  other  rooms.  But 
in  order  to  follow  an  orderly  and,  I  think,  a  logical  plan,  let  us 
now  enter  the  main  entrance,  and  go  straight  to  Room  No.  91 
(consult  the  plan  of  the  building,  page  — ). 

Room  No.  91  is  the  center  of  a  little  group  of  rooms  which 
contain  typical  examples  of  certain  factors  of  prime  importance 
connected  with  the  beginning  of  American  art. 

Of  course,  back  again  of  these  examples  lies  the  tremendous 
earlier  history  of  art,  but  it  is  obvious  that  the  task  of  exhibiting 
its  entire  development  would  require  a  dozen  great  buildings  at 
least — and  several  dozen  books.  Not  the  pre-American  period  as 
a  whole,  therefore,  but  simply  a  few  chapters  from  the  history 
of  that  vast  period — this  is  all  that  is  required  in  order  to  begin 
the  exposition  of  the  American  branch  of  universal  art,  and  to 
link  it  on  to  the  vaster  body  from  which  it  springs. 

Room  No,  91,  then,  contains  a  number  of  Old  Masters — works 
by  Italian  painters  predominating. 

In  the  center  of  Wall  A  (remember  that  all  the  rooms  contain 
a  sign  giving  its  number,  and  that  each  wall  is  marked  with  a 
letter,  A,  B,  G,  or  D))  hangs  a  fresco  painting,  a  winged  and 
kneeling  angel,  by  Bernardo  Luini.  It  is  exquisitely  beautiful. 
Let  us  believe  firmly  in  the  progress  of  art;  but  do  not  let  us 
forget  that  it  is  a  progress  in  technic,  in  method,  rather  than  in 
beauty.  All  the  ages  are  equal,  affirmed  William  Blake;  but 
genius  is  above  the  ages. 

This  Luini  fresco  is  perhaps  the  best  starting  place  for  the 
student.  It  is  executed  in  a  method  that  had  its  origin  in  early 
Egypt,  and  was  universally  employed  by  painters  before  the  use 
of  oils  was  popularized  by  the  brothers  Van  Eyck.  This  method 
is  "tempera" — done  with  pigments  mixed  with  white  of  egg. 
Before  the  Van  Eycks,  oil  colors  were  only  used  to  give  super- 
ficial lustre  to  carefully  executed  paintings  in  tempera.    Although 


the  Van  Eyck '  brothers,  Jan  and  Hubert  (who  lived  from  about 
1380  to  i440),  kire  commonly' called  the  inventors  of  oil  painting, 
Reinach  says  that  Valesquez  was  the  first  artist  to  employ  oils 
exclusively.  Luini  was  a  pupil  of  the  great  initiator,  Leonardo 
(whose  masterpiece  is  the  famous  Monna  Lisa),  and  though  not 
nearly  so  great  as  his  master,  he  sometimes  did  great  things.  His 
masterpieces  are  his  frescoes  in  the  church  at  Saranno.  He 
thrived  about  the  year  1483,  at  Milan,  where  Leonardo  brought 
the  fecund  force  of  his  many-sided  genius,  and  formed  many  dis- 
ciples. 

Above  the  exquisite  Luini  hangs  a  Madonna  by  Timoteo  Viti. 
who  about  1490  was  the  pupil  of  Francia,  a  formative  influence  in 
Italian  art  who  derived  from  the  Venetian  school  and  set  up  his 
own  workshop  (he  was  goldsmith  as  well  as  painter)  at  Bologna. 
Leaving  Francia,  Viti  went  to  live  at  Urbino.  Not  great  in  him- 
self, it  was  his  great  destiny  to  teach  and  develop  a  transcendent 
genius,  no  less  a  one  than  the  glorious  Raphael,  who  was  his 
pupil  for  the  first  five  years  of  his  most  impressionable  period. 

Next  to  the  Viti  hangs  a  noble  work  by  .Jocopo  Tintoretto,  the 
head  of  a  Venetian  Senator.  Tintoretto  (born  1518,  died  1.594), 
has  been  called  the  Michael  Angelo  of  Venice.  Together  with 
Veronese,  he  dominated  the  second  epoch  of  the  Renaissance  in 
Venice,  from  which  sprang  one  of  the  great  schools  of  Italy. 
Fecund  and  Impulsive,  much  of  his  grandiose  and  at  times  fever- 
ish work  has  lost  its  power,  but  some  of  it  remains  sealed  with 
the  stamp  of  genius.    Titian  was  his  artistic  ancestor. 

There  are  other  notable  paintings  on  this  wall,  but  before 
speaking  of  these  let  us  finish  with  the  other  Italian  paintings. 
On  Wall  B  are  two  typical  examples  of  the  Italian  school,  a 
"Holy  Family,"  and  "Noah  and  His  Sons."  They  are  unsigned. 
They  recall  the  fact  that  the  impress  of  Christianity  was  deeply 
stamped  upon  Italian  painting,  and,  in  fact,  upon  all  other  schools 
of  painting  until  after  the  Renaissance.  Many  were  the  artists 
who,  without  native  predilection  for  religious  subjects,  were  yet 
compelled  to  paint  them  because  their  patrons  and  the  public 
desired  them.  This  explains  the  fact  why  so  many  of  these 
pictures  are  feeble  expressions  of  divine  ideas  but  are  exquisite 
representations  of  the  things  which  really  interested  their 
painters — landscape,  portraits  of  real  persons,  still  life,  rich 
brocades,  and  so  forth.  The  two  pictures  on  this  wall,  however, 
are  sincere  enough. 

In  the  center  of  Wall  C  hangs  the  "Banquet  of  Dives,"  by 
Jacopo  da  Ponte  or  II  Bassano,  another  typical  example  of  the 
dominant  religious  subject  in  early  Italian  art.  This  painter  was 
prominent  in  the  Venetian  school,  1510-1592,  and  is  given  the 
honor  of  being  one  of  the  creators  of  modern  landscape  painting. 

10 


Near-by  hang  two  examples  of  early  Italian  portrait  painting 
(Nos.  4004  and  4005),  by  Baroccio,  together  with  two  others  by 
G.  P.  Piazzetta  (Nos.  2842  and  2843).  The  Madonna  by  Bona- 
ventura  di  Segna  completes  the  tale  of  notable  Italian  works  in 
this  room. 

Returning  to  Wall  A,  there  is  found  a  name  that  recalls  the 
glory  of  the  early  Flemish  school.  This  is  David  Teniers,  repre- 
sented by  "A  Kitchen  Scene."  Teniers  (1610-1690),  was  one  of 
the  great  original  masters  of  genre  painting.  Inspired  by  the 
tremendous  genius  of  Rubens,  the  wine-shop,  the  country  fair,  all 
the  vivid  spectacles  of  the  peasant  life  of  his  own  age,  were 
rendered  by  him  with  brilliant  observation  and  power.  If  the 
Italian  painters,  in  the  main,  show  us  the  origins  of  idealism, 
and  of  the  spiritual  in  art,  Teniers  and  his  fellows  exhibit  the 
beginnings  of  realism  and  of  art's  interest  in  humanity's  humble, 
daily  concerns.  Jan  Steen's  "The  Drunken  Woman"  and  Van 
Ostade's  "Tavern  Scene"  are  other  examples  of  this  sturdy  and 
fertile  school,  the  influence  of  which  is  today  stronger  in  Ameri- 
can art  than  that  of  the  more  idealistic  school. 

Two  other  great  influences  are  indicated  by  examples  shown 
in  this  room.  There  is,  first,  the  Spanish  school,  illustrated  by 
Ribera's  "St.  Jerome's  Last  Prayer."  Ribera,  a  native  of  Valencia 
(1588-1652),  studied  in  Italy,  and  took  back  into  Spain  the 
methods  and  ideas  which  affected  him  and  which  ever  since  have 
remained  vital  in  his  country.  His  dominant  note  was  that  of  an 
intensely    realistic   handling   of   his    subjects,   usually   religious. 

The  last  great  name  which  this  room  calls  attention  to  is 
that  of  Antoine  Watteau,  with  his  "The  Competitors"  (No.  4017). 
Watteau,  who  thrived  in  Paris  from  1702-1721,  calls  attention  to 
France  and  the  dawn  of  the  modern  period.  He  was  the  great 
master  of  the  eighteenth  century  school,  the  school  of  artificial 
graces.  An  exquisitely  refined  colorist,  a  true  poet  in  paint,  Wat- 
teau deeply  affected  the  whole  course  of  French  art,  and,  there- 
fore, our  own,  which  derives  so  largely,  so  predominantly,  per- 
haps, from  France. 

Room   No.   63. 

Stepping  from  Room  91  into  Room  63  is  to  continue  and  en- 
large a  profitable  acquaintance  with  the  formative  influences  of 
our  native  painting,  and  to  carry  it  directly  to  its  beginning.  It 
was  the  great  Englishmen,  Gainsborough,  Reynolds,  Romney,  Rae- 
bum  and  others  whom  we  meet  here  who  immediately  inspired 
our  first  American  artists — Copley,  Stuart,  West,  Sully  and  the 
others. 

But  this  room  also  contains  examples  of  earlier  masters  than 
thp3?  Qt  England.   In  the  center  of  Wall  A  hangs  a  splendid  altar- 

n 


piece  by  Tiepolo,  "St.  Domenico  and  the  Saints."  Tiepolo  (1696- 
1770),  a  great  Venetian  master  of  the  Renaissance,  the  favored 
painter  of  a  polished  aristocracy,  and  one  of  the  leaders  of  the 
Counter-Reformation,  is  said  to  have  been  the  last  of  the  old 
painters  and  the  first  of  the  moderns.  Reinach  declares  that 
nearly  all  the  great  decorators  of  the  nineteenth  century  were 
inspired  by  him.  He  exerted  a  profound  influence  over  the  great 
Spaniard,  Goya,  to  whom  the  fresh  vigor  that  animated  French 
painting  in  the  second  half  of  the  nineteenth  century  is  ascribed 
by  some  authorities. 

Two  excellent  examples  of  Goya's  work  hang  on  Wall  A,  both 
of  them  portraits  (Nos.  2897  and  2892).  They  have  been  declared 
equal  in  interest  to  any  of  his  works  in  the  Prado,  at  Madrid. 
Goya  (1746-1828)  was  a  sort  of  second  Velasquez,  who  handed  on 
the  light  of  his  greater  master  to  the  French  colorists  of  the 
nineteenth  century,  who  in  their  turn  so  strongly  influenced 
modern  Americans. 

On  the  same  wall  hangs  a  picture  attributed  to  Velasquez  him- 
self, a  portrait  (No.  2890).  Velasquez  (1599-1660)  is  too  vast 
a  subject  to  enter  upon  here;  suffice  it  to  say  that  he  is  commonly 
regarded  as  perhaps  the  greatest  painter,  technically  speaking, 
the  world  has  ever  seen.  "Before  a  work  of  Velasquez,"  wrote 
Henri  Regnault,  "I  feel  as  if  I  were  looking  at  reality  through  an 
open  window."  Art  herself,  averred  Whistler,  who  owed  so  much 
to  the  Spaniard,  dipped  the  brush  of  Velasquez  in  light  and 
air.    He  is  one  of  the  pillars  of  the  temple  of  modern  painting. 

Another  example  of  Ribera,  the  Spaniard  of  whom  we  have  al- 
ready spoken  in  Room  91,  hangs  near  the  Tiepolo.  It  is  a  paint- 
ing of  St.  Jerome — the  first  translator  of  the  Bible  into  Latin, 
and  one  of  the  greatest  names  in  the  history  of  the  Catholic 
Church. 

Two  pictures  by  Guido  Reni  (Nos.  2898  and  2893)  demand  at- 
tention. Reni  (1575-1642)  was  a  principal  representative  of  the 
Bolognese  school,  founded  by  the  three  Carracci,  who  were  among 
the  first  to  preach  the  doctrine  of  eclecticism — the  theory  that 
from  each  school  and  each  painter  of  the  past  the  artist  should 
take  what  was  best.  The  dominant  influences  in  this  school 
of  the  Carracci  were  those  of  Raphael  and  Michael  Angelo  in 
drawing  and  composition,  and  Titian  and  Corregio  in  color. 

Especial  attention  should  be  attached  to  the  Van  Dyke  (No. 
2923).  The  best  and  most  famous  pupil  of  the  great  and  tre- 
mendously fecund  Rubens,  was  Van  Dyke  (1599-1631),  who 
brought  the  message  of  Italian  and  Flemish  art  into  England, 
Indeed,  it  may  be  said  that  Van  Dyke,  settling  in  England  and 
fostered  by  its  court,  founded  the  national  school.  His  influence 
played  a  strong  part  in  forming  the  art  of  Reynolds,  Gainsborough, 

13 


Hoppner,  Ramsay,  Romney,  RaeDurn,  Opie,  and  Lawrence — that 
great  group  of  portrait  and  landscape  artists  from  whom  (espe- 
cially through  Constable)  stemmed  the  French  Barbizon  school, 
and,  at  an  earlier  date,  our  first  American  painters.  Van  Dyke, 
then,  was  the  link  in  the  chain  which  connects  us,  through  Eng- 
land, with  the  Continent. 

Many  of  the  works  of  these  great  Englishmen  hang  upon  Walls 
C  and  D  of  this  gallery,  which  opens  so  many  vistas  into  notable 
epochs  of  the  past.  Among  them  there  is  an  example  of  Sir  Peter 
Lely  (No.  2906).  Checked  by  the  fanaticism  of  the  Puritan  revo- 
lution, English  art,  which  had  risen  to  such  heights  under  Van 
Dyke's  influence,  was  revived  by  another  foreigner,  the  West- 
phalian,  Peter  van  der  Vaes,  known  as  Sir  Peter  Lely.  His  famous 
series  of  iDortraits  of  the  beauties  of  the  court  of  Charles  II.  hang 
in  Hampton  Court. 

.Toshua  Reynolds  (1723-1792)  is  represented  by  two  examples 
of  his  portrait  work  (Nos.  2902  and  2922).  He  is  generally  ac- 
cepted as  the  greatest  figure  in  this  early  English  school,  though 
Gainsborough  (1727-1788)  surpasses  him,  declare  many  critics,  in 
purely  artistic  qualities,  and  in  the  grace  and  spontaneity  of  his 
art.  There  are  three  examples  of  Gainsborough,  one  (No.  2886) 
being  a  portrait,  and  the  others  (Nos.  2903  and  2917)  charac- 
teristic landscapes.  There  are  two  typical  Romneys  (Nos.  2919 
and  2916).  Hoppner  (No.  2885),  Alan  Ramsay  (No.  2909),  and 
Raeburn  (No.  2911)  were  other  noteworthy  members  of  this 
school.  With  Sir  Thomas  Lawrence  (1769-1830)  its  glory  began 
to  pale,  dying  out  with  Sir  William  Beechey,  after  whom  there 
came  a  flood  of  the  futile  stuff  of  the  early  Victorian  period. 
Lawrence  has  two  of  his  brilliant  canvases  in  this  gallery  (Nos. 
2910  and  2913).  •  There  are  also  two  typical  Beechey's  (Nos. 
2908  and  2899). 

A  name  that  has  a  place  all  by  itself  in  English  art  is  that  of 
William  Hogarth.  A  harsh  and  powerful  moralist,  Hogarth  (1697- 
1764)  is  best  known  by  his  famous  series  of  painted  parables, 
"The  Rake's  Progress,"  and  others,  but  he  was  also  a  portrait 
painter  of  considerable  consequence.  It  is  one  of  his  portraits 
(No.  2884)   which  is  shown  here. 

With  one  more  great  name — one  which  is  of  greater  familiarity 
to  us  of  today — that  of  Turner  (No.  2889),  our  study  of  this 
room  leaves  the  past  and  enters  by  a  brilliant  portal  into 
modernity.  Turner  (1775-1851)  was  a  painter  who  fairly  wor- 
shipped the  sun  and  who  reveled  in  a  romantic  region  of 
lyrical  light.  How  nearly  he  concerns  us  today  we  may  judge 
by  the  fact  that  both  Monet  and  Pissaro,  pioneers  of  Impres- 
sionism, came  under  the  influence  of  his  latest  manner  when 
they  visited  London  in  1870.     England's  virile,  procreative  spirit 

13 


played  very  impoitant  parts  in  the  formation  of  not  only  the 
early  American  school,  but  also  of  the  Barbizon  school,  through 
Constable,  and  of  Impressionism,  through  Turner. 

CHAPTER   II. 

The  Dawn  of  American  Art. 

Room  60. 

Passing  from  Room  63  into  Room  60  is  a  logical  step.  You 
enter  from  the  source  of  the  first  American  art — the  British  school 
— into  the  midst  of  examples  of  that  early  period  when  the 
foundation  of  our  own  particular  mansion  was  laid  in  the  house 
of  art. 

Painters  who  were,  in  fact,  British  subjects,  having  been  born 
in  pre-Revolutionary  days,  and  living  and  dying  in  their  first  al- 
legiance, aided  in  the  solid  placing  of  that  foundation. 

The  great  names  of  that  period  are  Benjamin  West,  John 
Singleton  Copley,  Charles  Willson  Peale,  and  Gilbert  Stuart.  They 
are  all  represented  in  this  room. 

Other  names  which  bulk  largely  in  the  history  of  the  dawn 
of  our  native  art,  and  which  also  are  to  be  found  in  Room  60,  are 
Joseph  Wright,  Matthew  Pratt,  Washington  AUston,  Thomas  Sul- 
ly, Thomas  Doughty,  William  Mount,  Charles  Loring  Elliott, 
Asher  Brown  Durand,  and  G.  P.  A.  Healy. 

They  recall  the  two  great  interests  of  painting  which  first 
claimed  attention  in  this  country,  portraiture  and  landscape — 
in  both  of  which  American  art  has  won  eminent  success.  They 
span  a  stretch  of  time  from  1734,  when  Pratt  was  born,  to  1894, 
when  G.  P.  A.  Healy,  who  was  born  in  1808,  laid  down  a  brush 
which  had  been  trained  to  work  in  a  style  that  is  now  historical. 

Benjamin  West  is  represented  by  his  "Mary  Magdalene," 
which  hangs  in  the  center  of  Wall  C,  an  example  of  his  tendency 
toward  imaginative  works  uninspired  by  authentic  imagination, 
moved  merely  by  a  somewhat  meretricious,  melodramatic  fancy. 
His  more  worthy  and  enduring  work  was  in  portraiture.  An  ex- 
ample  (No.  2783)   hangs  near-by. 

Born  in  a  Quaker  village  near  Philadelphia  in  1738,  and  en- 
tirely without  artistic  surroundings,  Benjamin  West  is  an  extraor- 
dinary instance  of  the  way  in  which  the  spirit  of  art  claims  its 
votaries.  He  felt  within  himself  an  irresistible  desire  to  be  a 
painter.  He  watched  the  Indians  daubing  their  bodies  with  their 
crude  pigments,  and  absorbed  his  first  instructions.  A  present 
of  a  paint-box  enabled  him  to  produce  results  that  secured  him 
commissions  for  portraits,  and  in  his  twenty-second  year  he  was 
in  Rome.  From  there  he  went  to  London.  He  received  the 
Order  of  Knighthood  and  died  President  of  the  Royal  Academy, 

U 


in  1820,  and  was  buried  with  pomp  and  ceremony  in  St.  Paul's. 

But  while  seated  amid  the  mighty  in  London,  West,  to  his 
lasting  honor,  remembered  back  with  humility  and  sympathy 
to  his  hard  days  in  crude  America,  and  he  was  of  great  service 
to  other  American  artists,  among  them  Matthew  Pratt  and  Gil- 
bert Stuart.  However,  his  influence  upon  American  art  was  not 
permanent,  nor  along  the  lines  of  its  major  developments. 

John  Singleton  Copley  (1737-1815),  one  of  whose  portraits 
(No.  2785)  hangs  on  Wall  C,  has  remained  a  more  vital  influence 
than  West.  Of  Irish  parentage,  born  in  Boston,  and  almost  en- 
tirely self-taught,  he  recorded  with  his  virile  portraits  the  pre- 
Revolutionary  leaders  of  society  and  affairs.  He  went  to  Rome 
and  to  London  when  his  style  was  well  formed.  He  remained 
in  England,  preferring  its  cultured  life  to  that  of  his  own  cruder 
country — the  first  of  a  numerous  band  of  artists  who  took  the 
same  course.  West,  leaving  America  before  the  break  with 
England  was  even  suggested,  was  not  a  similar  case  of  delib- 
erate expatriation. 

Charles  Willson  Peale  (1741-1827)  was  the  most  famous  resi- 
dent American  painter  of  his  period.  His  portrait  of  Colonel 
Charles  Pettit,  who  was  George  Washington's  quartermaster, 
hangs  on  Wall  C  (No.  2791).  A  native  of  Maryland,  he  studied 
under  Copley  in  Boston,  and  West  in  London.  He  executed  on 
his  return  the  first  life-size  picture  of  Washington.  Patriot 
as  well  as  painter,  Peale  fought  under  the  command  of  his  sitter 
at  Trenton  and  Germantown.  In  all,  he  did  fourteen  portraits 
of  his  hero.  He  organized  the  first  exhibition  of  paintings  given 
in  America,  and  was  one  of  the  founders  of  the  Pennsylvania  Aca- 
demy of  the  Fine  Arts,  the  oldest  of  all  existing  art  institutions 
in  the  United  States. 

Gilbert  Stuart  (1755-1828)  may  be  studied  in  no  less  than 
five  examples,  portraits,  hanging  upon  Wall  A  (Nos.  2763,  2764, 
2765,  2767  and  2768).  Among  his  subjects  are  President  Mon- 
roe and  General  Dearborn. 

Stuart's  Is  the  greatest  light  in  the  galaxy  of  that  period. 
Born  at  Narragansett,  he  was  taken  out  of  the  United  States 
by  his  Tory  parents,  and  entered  West's  studio  in  London, 
where  he  studied  for  eight  years.  But  he  was  singularly  un- 
affected by  the  more  famous  man.  He  remained  sturdily  him- 
self. He  was  one  of  the  first  of  the  painters  of  character,  as 
differentiated  from  exterior  appearances.  A  hero-worshiper, 
despite  his  calm,  cautious  Scotch  blood,  he  gave  up  immense  suc- 
cess in  London  to  return  to  the  United  States,  impelled  by  his 
admiration  for  George  Washington,  and  by  his  compelling  de- 
sire to  paint  this  man  among  men.  Settling  in  Boston,  Stuart 
remained    there    until    his    death    in    1828.      He    was    perhaps 

16 


the  first  of  the  American  artists  to  regard  his  work  from  a 
painter's  point  of  view,  rather  than  from  that  of  a  pictorial  his- 
torian or  story-teller 

Washington  Allston  (1779-1843),  a  native  of  South  Carolina, 
studying  in  Rome,  became  thrall  to  Raphael;  which  no  doubt  was 
a  healthful  influence,  but  he  also  succumbed  to  the  later  Italian 
painters  of  the  affected  "grand  style,"  which  was  fatal  for  him. 
Through  him  and  John  Vanderlyn  the  lessons  of  Rome  reached 
America,  to  help  those  who  could  assimilate  them,  and  to  injure 
those  who  merely  imitated.     His  "Bacchanal"  hangs  on  Wall  A. 

Charles  Loring  Elliott  (1812-1868),  of  Auburn,  N.  Y.,  a  self- 
taught  genius,  is  represented  by  three  portraits,  of  which  that  of 
"Mrs.  Goulding" — a  work  of  "extraordinary  truth  and  technical 
power, '  as  one  of  the  most  competent  of  pbservers  said  to  the 
writer  —  is  the  most  remarkable.  Elliott  anticipated  by  a  species 
of  intuitive  divination  the  method  of  brush-work  now 
employed  by  the  best  men,  but  which  in  his  own  day  was  not 
employed.  The  painter's  method,  as  differentiated  from  a 
draughtsman's  method.  How  his  work,  with  that  of  Copley 
and  other  early  Americans,  impresses  by  virtue  of  innate  power 
and  truth!  If  the  Americans  derived  from  the  English  painters, 
they  do  not  for  that  reason  become  inferior.  Indeed,  in  many 
classes   they   rise   above   them. 

With  Thomas  Doughty  and  Asher  Brown  Durand  we  reach 
two  names  of  the  first  consequence  in  American  landscape 
painting. 

They  were  pioneers  in  the  field  since  so  splendidly  produc- 
tive. They  began  the  "Hudson  River  School,"  Despite  its  de- 
ficiencies, it  was  a  frank  and  sturdy  expression  of  a  national 
spirit.  The  men  of  this  school  went  to  nature,  and  took  pride 
in  the  beauty  and  interest  of  their  own  country. 

Thomas  Doughty  (1793-1856)  bears  by  general  consent  the 
title  of  first  American  landscape  painter,  although  it  was  Thomas 
Cole  (1801-1848)  who  popularized  the  new  movement.  We  will 
find  Cole's  work  in  Room  59,  which  continues  the  current  which 
had  its  well-spring  in  this  room.  Asher  Brown  Durand  (1796- 
1886)  was  another  leader  of  this  school.  In  this  room  he  is 
represented  only  by  a  portrait  of  himself  (No.  2795),  his  land- 
scapes hanging  near  Cole's  in  Room  59.  Two  of  Doughty's  can- 
vases (Nos.  2777  and  2778)  hang  on  Wall  B.  The  school  derived 
its  name  from  the  fact  that  its  pioneers  began  by  working  in 
the  valley  of  the  Hudson,  though  their  disciples,  like  Bierstadt, 
Kensett  and  Moran,  wandered  far  and  wide  into  the  Rocky 
Mountains,  and  in  the  case  of  Bierstadt  and  Moran,  even  to 
California.     Let  us  follow  this  western  trail  into  Room  59. 


IR 


Room  No.  59. 

Thomas  Cole,  whose  enduring  claim  to  remembrance  is  based 
upon  the  fact  of  his  having  aroused  an  artistic  appreciation  of 
the  Catskills  in  particular  and  of  American  landscape  in  general, 
is  represented  by  one  of  his  typical  landscapes  (No.  2-721),  and 
by  the  sketches  for  his  famous  and  popular,  but  less  artistically 
satisfactory  painting,  "The  Voyage  of  Life"    (No.   2737). 

A.  B.  Durand  is  recalled  by  two  large  paintings;  one  in  his 
weaker  allegorical  manner,  "The  Morning  of  Life,"  hanging 
upon  Wall  C,  and  the  other,  a  much  simpler  and  stronger  piece 
of  original  observation,  "The  Thunderstorm:  Catskills,"  upon 
Wall  D. 

Pictures  by  J.  F.  Kesnett  (Nos.  2716  and  2718)  and  J.  M. 
Hart  (No.  2714),  both  on  Wall  A,  are  further  examples  of  the 
Hudson    River   school. 

We  will  encounter  other  characteristic  products  of  this  school 
in  galleries  still  to  be  visited,  such  as  the  woik  of  Albert  Bier- 
stadt  in  Room  58.  Landscape  painting  has  progressed  far  be- 
yond the  highest  point  of  this  school,  but,  as  Charles  H.  Caffin 
well  says:  "These  pictures  had  in  them  the  true  stuff  that  has 
made  landscape  painting  the  sincerest  form  of  modern  expres- 
sion; what  they  lacked  was  skill  in  the  craftsmanship  of  paint- 
ing and  the  painter's  point  of  view.  *  *  =^  Meanwhile,  it  is 
very  cheap  criticism  to  decry  these  men;  *  *  *  rather  should 
they  be  remembered  as  the  leadeis  among  us  in  that  return  to 
nature  which,  unknown  to  them,  had  also  lead  Rousseau  and 
his  followers  to  Barbizon,  and  was  to  become  in  literature  and 
painting  the  strong,  distinctive  characteristic  of  the  nineteenth 
century." 

There  are  three  Henry  Inmans,  a  portrait  of  Henry  Pratt 
hanging  on  Wall  A  (No.  2715),  a  genre  painting  (No.  2747)  on 
Wall  D,  and  a  landscape  (No.  2726)   on  Wall  B. 

There  are  several  items  which  illustrate  the  less  artistically 
memorable  tendencies  of  the  past,  such  as  the  still  popular 
painting  of  "Old  Ironsides"  by  James  Hamilton  on  Wall  A,  and 
W.  H.  Beard's  well-known  picture  of  bears  at  a  picnic. 

Of  greater  interest  to  the  people  of  the  West  are  the  two 
examples  of  the  work  of  Thomas  Hill   (Nos.   2748  and   2756). 

Both  these  little  pictures  are  California  landscapes.  Hill 
lived  in  San  Francisco  from  1861  to  1867,  and  from  1871  to  his 
death  in  1908.  One  of  the  pioneers  of  painting  in  the  West,  and 
influenced  by  Bierstadt,  although  at  the  same  time  an  artist  of 
distinct  originality,  Thomas  Hill  was  a  link  of  much  consequence 
in  the  chain  of  art  in  its  first  westward  trend. 


17 


Room    No.   58. 

Several  important  names  and  tendencies  are  illustrated  by 
the  canvases  shown  here. 

We  have  already  talked  about  Bierstadt,  who  carried  the 
influence. of  the  Hudson  River  school  into  the  West,  and  was 
one  of  its  most  characteristic  exponents.  He  was  a  German  by 
birth,  trained  at  Dusseldorf,  and  his  huge  pictures  display  at 
once  his  ability  in  rendering  a  panoramic  view  of  nature,  and  his 
inability  to  treat  nature  in  the  modem  way,  from  the  point  of 
view  of  a  single,  synthetic  impression,  or  a  mood.  His  two 
gigantic  pictures  of  Colorado  scenery  face  each  other  on 
Walls  B  and  D. 

On  Wall  C  hangs  Emanuel  Leutze's  "Portrait  of  Nathaniel 
Hawthorne"  (No.  2698).  Leutze  is  another  of  the  gifts  of  Ger- 
many to  this  country.  He  is  better  known  as  a  painter  of 
historic  pictures  than  as  a  portraitist.  An  example,  "Columbus 
Discovering  America,"  hangs  in  Room  64,  Wall  B  (No.  2950). 
His  best  work  is  the  famous  "Washington  Crossing  the  Dela- 
ware." Through  him  the  influence  of  the  genre  school  of 
Dusseldorf  reached  this  country,  where  it  had  profound  results, 
some  of  them  deplorable;  for  America  was  flooded  with  anec- 
dotal, sentimental,  trashy  pictures  which  postponed  popular 
appreciation  of  the  true   nature  of  ait. 

Among  Leutze's  pupils  at  Dusseldorf  was  Eastman  Johnson 
(1824-1906),  of  whose  work  there  are  several  typical  canvases  on 
Wall  A  (Nos.  2678,  2680,  and  2681).  One  is  a  portrait  of  Edwin 
BoQth,  our  most  famous  actor.  Johnson  was  one  of  the  best 
artists  of  the  Dusseldorf  school,  and  his  portraits  still  hold  their 
own  amid  more  modern  work. 

One  of  H.  J.  Breuer's  mountain  paintings  hangs  on  Wall  C. 
This  powerful  and  impressive  work  by  a  contemporary  artist  of 
San  Francisco  does  not  appropriately  belong  in  this  room,  and 
we  will  find  it  more  logical  to  treat  of  him  with  his  fellow 
moderns  later  on. 

CHAPTER  III. 

Certain   European   Influences. 

Room  No.  92, 

Having  traced  in  the  three  previous  rooms  what  may  be 
termed  the  historical  i)eriod  of  our  native  art — although  recent 
and  brief  indeed  is  American  antiquity! — in  Room  92  we  are 
again  transported  to  Europe,  and  find  ourselves  among  many  of 
the  influences  which  in  diverse  fashions  have  deeply  affected  our 
contemporary  art. 

In  this  connection  it  is  well  to  remember  that  it  is  not 
always  the  artist  of  yesterday,  or  of  the  day  before,  who  most 

18 


strongly  plays  a  part  in  new  developments.  For  example,  the 
most  advanced  art  of  today,  in  several  of  its  most  typical  forms, 
betrays  a  harking  back  to  that  of  primitive  peoples,  and  to  the 
prehistoric  periods  of  Assyria  and  Babylon.  So  we  need  feel  no 
surprise  at  finding  in  this  room,  among  much  modern  work  names 
which  belong  to  comparatively  ancient  times. 

And  it  is  in  this  room  that  we  pronounce  for  the  first  time 
the  great  name  of  the  Barbizon  school. 

In  the  center  of  Wall  A  hangs  Le  Brun's  large  historical  paint- 
ing, "The  Family  of  Darius  at  the  Feet  of  Alexander."  Le 
Brun,  who  flourished  at  the  court  of  Louis  XIV,  is,  above  all, 
an  example  of  the  academical  spirit — that  spirit  of  conservatism 
which,  though  it  often  produces  splendid  masterpieces  of  its 
kind,  is  in  all  ages  the  force  against  which  original  genius  must 
wage  bitter  warfare.  Le  Brun  reached  the  apogee  of  his  talent 
for  draftsmanship  and  decoration  in  his  design  for  his  "Battles 
of  Alexander."  The  Gobelin's  tapestries  which  were  the  result 
of  these  designs  are  on  view  in  the  French  Pavilion. 

To  the  left  of  the  Le  Brun  hangs  a  masterpiece^"The  Young 
Man  with  Violincello,"  by  Gustave  Courbet  (1819-1877).  "The 
tuibulent,  intolerant  champion  of  verity,  the  man  who,  more  than 
anyone,  demolished  convention  and  established  the  supremacy 
of  free,  unfettered  observation,"  so  Christian  Brinton  emphatical- 
ly writes  of  Courbet.  A  revolutionary  in  art,  his  name  is  linked 
with  that  of  Manet.  With  Courbet,  color  remained  that  of  the 
accepted  convention  of  the  galleries.  "He  still  believed  that 
shadows  were  black."  But  to  Courbet,  together  with  Manet, 
must  be  given  the  credit  of  the  nineteenth  century  reaction  from 
frigid  classicism  and  from  a  romanticism  which  had  ceased  to 
be   spontaneous. 

A  very  notable  Meissonier  hangs  to  the  right,  his  "St.  John, 
the  Divine."  It  is  an  unusually  large  canvas  to  come  from  the 
hand  of  this  master,  who  painted  majestic  anecdotes  with  ex- 
traordinary minuteness,  and  whose  tiny  picture  of  Napoleon  on 
his  white  horse  retreating  from  Russia  is  acclaimed  as  one  of 
the  glories  of  the  French  school  of  the  nineteenth  century. 
There  are  two  other  examples  of  his  work  in  the  French  Pa- 
vilion. 

Fortuny  (1841-1874),  prominent  in  the  history  of  modern 
Spanish  art,  is  recalled  by  "The  Model."  Spain,  at  no  time,  seems 
to  have  suffered  from  the  paralysis  of  academicism,  which  during 
long  periods  has  fettered  the  art  of  all  other  countries.  For 
tuny,  perhaps,  skirted  the  danger  zone,  but  his  experiences  on 
the  battle-fields  of  northern  Africa,  to  which  his  destiny  con- 
ducted him,  kept  him  in  contact  with  reality. 

Andriaen  Brouwer,  a  painter  who  stemmed  from  one  of  the 

19 


greatest  masters  of  realism,  and  the  most  superb  portrait  paint- 
er of  Holland,  next  to  Rembrandt,  namely,  the  incomparable 
Franz  Hals,  is  represented  on  Wall  B  by  "Head  of  an  Old  Man. ' 
Rrouwer  died  in  1658.  He  was  distinguished  for  his  power  of 
invention,  and,  as  a  painter  of  rustic  subjects,  has  left  a  dee)) 
mark  on  Holland  art. 

Upon  this  wall  hang  two  examples  of  Corot  (Nos.  4029  and 
4025).  Classed,  though  rather  roughly,  with  the  Barbizon  school, 
Corot  (1796-1875)  holds  a  place  apart  from  Diaz,  Emisaeau. 
Daubigny,  Dupre  and  Troyon,  the  other  members  of  the  famous 
group,  who  established  themselves  at  Barbizon,  in  the  Forest  of' 
Fontainebleau,  and  produced  "faithful  and  impassioned  portraits 
of  their  native  land,  such  as  French  art  had  never  yet  known." 
This  revelation  of  nature  was  bi ought  to  France  by  exhibitions 
of  the  work  of  the  Englishmen,  Bonington  and  Constable,  the 
latter  especially. 

In  the  course  of  his  long  career  Corot  passed  from  the  con- 
fines of  the  arid  classicism  which  he  did  so  much  to  destroy, 
and  continued  his  artistic  progress  to  the  borders  of  Impression- 
ism. It  would  be  difficult  to  improve  upon  Reinach's  character- 
ization of  this  "poet  painter,  a  lyric  master  of  exquisite  refine- 
ment, a  worshiper  of  nature  in  her  more  tranquil  moods,  the  in- 
comparable limner  of  the  freshness  of  morning  and  the  silvery 
mists  of  evening."  His  influence  on  the  art  of  America  has 
been  very  great.  A  large  number  of  his  works  are  in  this 
country.  There  are  also  a  large  number  of  works  in  this  coun- 
try to  which  his  name  is  attached  but  which  he  never  painted. 
He  was  not  only  a  prolific  artist,  but  one  who  is  somewhat  easily 
imitated;  so  that  it  has  been  said,  "Corot  left  three  hundred 
pictures  behind  him,  of  which  number  three  thousand  are  in  the 
United  States." 

A  Josef  Israels  (No.  4026)  is  another  picture  of  great  interest 
upon  this  wall.  A  leader  of  the  modern  Dutch  school,  a  sympa- 
thetic and  powerful  interpreter  of  the  humble  souls  of  fishermen 
and  workers,  Israels  has  produced  many  strong  and  solid  works. 

In  Holland  modern  landscape  has  found  distinguished  inter- 
preters in  the  Maris  brothers,  one  of  whom,  Matthew,  is  repre- 
sented by  a  watercolor  hanging  on  Wall  C. 

The  Barbizon  school  is  again  represented  on  Wall  C  by  two 
examples  of  the  work  of  Daubigny  (No.  4032),  and  two  by 
Rousseau   (Nos.  4036  and  4037). 

A  more  modern  French  artist,  Cazin,  who  died  in  1891,  after 
having  won  a  distinguished  place  in  French  art,  occupies  the 
center  of  this  wall  with  his  powerful  "Repentance  of  St.  Peter." 
Two  others  of  his  canvases  may  be  seen  in  the  retrospective  ex- 
hibition in  the  French  Pavilion. 

20 


Upon  Wall  D  hangs  a  large  figure  painting  by  James 
Tissot — a  name  more  familiar  to  Americans,  perhaps,  as  the 
executor  of  the  famous  series  of  watercolors  illustrating  the  life 
of  Christ. 

Two  resplendent  Monticellis  complete  the  special  interest  in 
this  wall.  They  shine  forth  like  little  panels  composed  of 
jewels  crushed  together  but  holding  all  their  radiance.  Monti- 
celli  (1824-1886)  preserved  in  the  midst  of  the  realistic,  im- 
pressionistic and  humanitarian  schools  of  his  period,  his  own 
romantic  and  individual  spirit.  He  harks  back  to  the  past,  but 
with  such  a  rich  charm  that  he  has  won  a  firm  place  for  him- 
self amid  the  moderns. 

One  other  name,  that  of  Vincent  Van  Gogh,  with  his  "Moulin 
de  la  Galette,"  which  hangs  on  Wall  C,  brings  us  a  very  long 
stride  forward  into  modernity.  Van  Gogh  indeed  is  an  ultra 
modern  who,  with  Cezanne,  Gauguin  and  Matisse,  is  numbered 
among  the  pioneeis  of  the  art  of  the  future. 

Room   No.  62. 

This  gallery  continues  the  story  of  the  previous  one.  It  is 
a  further  illustration  of  the  history  of  French  influences  in 
American  art. 

Jules  Breton's  "The  Vintage,"  hanging  upon  Wall  A,  recalls 
with  great  force  the  name  of  a  leader  in  the  modern  movement. 
Born  in  1827,  he  died  in  1906,  after  a  distinguished  and  highly 
successful  career.  Following  Millet,  and  like  him  a  painter  at 
once  of  the  realities  and  the  idealisms  of  peasant  life,  but  more 
refined,  and  gentler,  than  the  rugged  Millet,  Jules  Breton  is  one 
of  those  painters  whose  appeal  is  stronger  with  the  public  than 
with  those  primarily  concerned  with  technical  interests. 

Near  him  hangs  an  example  of  his  great  master,  the  immortal 
Millet  (No.  2842),  who  belonged  to  the  Barbizon  school,  and 
shared  its  zest  for  the  truthful  delineation  of  nature,  but  who  also 
occupied  a  place  apart  because  of  his  ability  to  express  through 
outward  form  a  sense  of  the  deeper  realities  of  the  spirit.  "An 
idyllic  realist,"  as  he  has  been  termed,  "the  tender  and  fraternal 
sentiment  that  breathes  from  his  canvases  reveals  that  sympathy 
with  the  poor  and  humble  which  has  been  the  honor  and  the 
torment  of  the  nineteenth  century."  Born  1814,  he  died  in  1875. 
His  powerful  interpretations  of  peasant  life  inspired  the  cele- 
brated verses  by  Edwin  Markham,  "The  Man  with  the  Hoe." 

Rosa  Bonheur  (1822-1899),  whose  name  is  associated  for 
Americans  with  the  huge  and  famous  picture  of  "The  Horse 
Fair,"  is  represented  on  Wall  B  by  an  example  of  her  animal 
painting.      So    far    as    fame    and    success    are    concerned,    it    is 

21 


probable  that  Rosa  Bonheur's  name  still  stands  highest  in  the 
list  of  women  artists. 

Alma-Tadema,  whose  "Among  the  Ruins"  is  also  on  this  wall, 
is  not,  however,  French  but  British.  As  a  painter  of  classical 
Greek  and  Roman  subjects,  he  achieved  distinction  at  a  time 
when  the  pre-Raphaelite  movement  in  England,  led  by  Burne- 
Jones  and  Rossetti,  was  dominant. 

Bastien  Le  Page  is  the  commanding  interest  of  Wall  C, 
though  canvases  by  Diaz  and  Troyon,  both  of  the  Baibizon 
school,  compel  attention.  Le  Page  is  represented  by  a  charac- 
teristic figure  painting  (No.  2851).  Born  in  1848,  he  died  young, 
in  1884,  but  his  influence  outlived  him.  He  was  one  of  the 
pioneers  of  ''pleinairisrne."  or  the  painting  of  figures  in  the  open 
air,  a  tendency  akin  to  Impressionism,  and  a  revolt  against  the 
old  style  of  painting  done  in  the  studio,  with  black  shadows 
that  are  never  seen  out  of  doors. 

The  huge  Grand  Prix  salon  painting  by  Dagnan-Bouveret  oc- 
cupies Wall  D.  It  stands  apart  from  American  painting,  which, 
save  for  La  Farge,  shows  little  relation  to  the  traditional  sub- 
jects of  Catholic  art.  A  pupil  of  Gerome,  and  at  first  strongly 
influenced  by  Bastien  Le  Page,  Dagnan-Bouveret,  bom  in  1852, 
brought  a  realistic  attitude  to  the  delineation  of  sacred  themes. 

A  young  California  poet,  Mary  Malloy,  has  sought  to  give  a 
lyrical  interpretation  of  this  picture  in  an  exquisite  set  of  verses 
published  in  "The  Monitor,"  of  which  the  first  stanzas  are: 

''The  l)litfiest  green  of  fairy  glades 

Environs  Paradise, 
Clear  to  the  jasper  palisades 

The   lyric  color   lies. — 

Glinting  with  "beryl,  filmed  ivith  dusks 
Of  solemn  emerald. 
Unstained  hy  rust  of  avtum,n  husks 
Nor  ever  winter-palled. 

And  in  its  lucent  heart  of  hearts 

The  Saving  Mother  greets 
Each  hunted  soul  that  to  her  darts 

From  peril  or  defeats " 

CHAPTER   IV. 

The  Dawn  of  Modernity — Munich — Landscape. 

Room   No.  64. 

The  work  of  several  men  who  held  commanding  positions  in 
American  art  and  who  have  left  the  impress  of  their  personal- 
ities and  of  their  artistic  power  upon  our  public  is  abundantly 
displayed  in  this  interesting  room. 

22 


The  large  canvas  by  F.  E.  Church,  the  popularly  famous  "Ni- 
agara Falls,"  hanging  on  Wall  A,  is  a  fine  example  of  the  best 
work  of  the  Hudson  River  school.  Church  (1836-1900)  was  one 
of  the  revealers  of  the  beauty  of  American  landscapes,  and  one 
of  the  founders  of  the  national  spirit  in  art.  He  sought  his 
grandiose  and  panoramic  subjects  fiom  Labrador  to  South 
America. 

Upon  the  same  wall  hangs  an  example  of  one  of  the  founders 
of  American  marine  painting,  W.  T.  Richards  (1833-1905).  An- 
other example  of  his  work  hangs  upon  Wall  B.  American  ma- 
rine painters  have  developed  this  branch  of  art  in  a  high  de- 
gree, but  certainly  the  faithfulness  of  Richard's  work  gave  them 
a  good  point  of  departure. 

Worthington  Whittridge,  with  his  "A  Breezy  Day"  (No. 
2940),  and  the  three  pictures  by  Joseph  R.  Woodwell  (Nos. 
2936,  2938  and  2939),  among  others,  continue  the  history  of  the 
early  landscape  school. 

On  Wall  B  hang  two  typical  examples  of  Homer  Martin 
(Nos.  2953  and  2954),  and  with  this  name  we  breathe  the  air 
and  reach  the  artistic  domain  of  modern  American  landscape. 
Martin,  born  at  Albany,  N.  Y.,  in  1836,  and  who  died  in  1897, 
stands  with  George  Inness  and  Alexander  H.  Wyant — the  three 
fathers  of  the  modern  school.  Martin,  like  Inness,  absorbed  the 
Barbizon  influence  at  the  fountain  head.  As  with  Corot,  it  was 
not  so  much  the  objective  facts  of  nature,  but  the  poetic  im- 
pression which  these  facts  pioduced,  that  Martin  sought  to 
render  in  terms  of  paint.  In  him  was  a  large  measure  of  that 
nature-mysticism  which  has  played  and  still  plays  so  large  a 
part  in  American  thought  and  literature,  as  well  as  in  the  art 
of   painting. 

With  Walter  Shirlaw's  well  known  "Forging  the  Shaft,"  on 
Wall  B,  we  encounted  the  work  of  one  of  the  men  through  whom 
the  influence  of  the  Munich  school,  a  very  powerful  influence, 
indeed,  reached  this  country.  The  much  greater  names  of 
Frank  Duveneck  and  William  M.  Chase,  to  whose  work  the  high 
and  merited  honor  of  separate  rooms  has  been  accorded,  are 
those  with  which  the  story  of  Munich  more  justly  connects. 

It  will  be  well,  however,  at  least  more  convenient,  to  speak  of 
Munich  in  this  place.  Munich  succeeded  Dusseldorf,  in  the 
middle  of  the  ninetenth  century,  as  a  center  of  artistic  light 
and  learning  for  American  painters.  We  will  find  in  this  room 
typical  examples  of  the  Dusseldorf  idea.  Roughly  speaking,  it 
was  a  school  of  domestic  genre;  appealing  to  sentiment,  at  its 
best,  but  mostly  to  sentimentality;  and  at  its  worst  degenerating 
into  the  falsest  kind  of  melodrama.  Munich,  happily,  did  away 
with  all  this  and  restored  art  to  a  much  higher  plane.     Its  sub- 

23 


ject  matter,  under  its  greatest  master,  Piloty,  who  was  suc- 
ceeded by  Wagner  and  Diez,  was  historical.  But  its  most  im- 
portant lesson  was  in  the  technique  of  painting.  Especially 
through  Frank  Duveneck,  who  taught  for  ten  years  in  Munich, 
among  his  pupils  being  John  W.  Alexander,  Frederick  P.  Vinton, 
Joseph  R.  DeCamp  and  Julian  Story,  was  its  fruitful  technical 
advance  spread  abroad.  And  Duveneck  for  many  years  has  car- 
ried on  his  teaching  at  the  Cincinnati  Art  Academy.  Throwing  off 
the  bondage  of  historical  subject  matter,  and  grasping  Munich's 
more  helpful  lessons  of  practical  painting,  the  big  men  who  lit 
their  torches  at  its  fire,  and  expressed  their  temperaments  in 
terms  combined  of  its  ideas  and  their  own,  brought  to  America 
an  influence  only  second  to  that  of  modern  France. 

J.  G.  Brown's  characteristic  canvas,  "The  Detective  Story," 
on  Wall  B,  a  group  of  his  one-time  famous  street  Arabs,  is  a 
souvenir  of  this  Dusseldorf  influence  which  Munich  did  away 
with. 

Another  picture  which  recalls  this  school,  but  at  its  best, 
and  with  a  peculiar  interest  of  its  own,  is  Thomas  Hovenden's 
"Breaking  Home  Ties,"  on  Wall  D.  This  was  the  great  popular 
success  of  the  Exposition  at  Chicago,  and  is  still  deservedly  ad- 
mired. An  exquisite  flower  piece  from  Hovenden's  brush, 
"Peonies,"  hangs  on  Wall  C.  Hovenden  shook  off  the  D  isseldorf 
influence  and  became  one  of  the  followers  of  the  French  school, 
which  asserted  itself  under  John  La  Farge  when  the  Society  of 
American  Artists  was  founded  in  1877,  by  men  who  broke  away 
from  the  conservative  element  in  the  National  Academy  of  De- 
sign, and  led  the  modern  American  movement. 

With  the  name  of  William  Morris  Hunt,  whose  large  picture, 
"The  Flight  of  Night,"  hangs  on  Wall  D,  we  recall  the  fact  that 
Hunt,  born  in  Vermont  in  1824,  was  the  first  of  the  big  trio  com- 
posed of  himself,  George  Inness  and  John  La  Farge,  who  were 
the  first  of  the  American  painters  to  go  to  Barbizon  and  to  ab- 
sorb the  vital  influences  of  modern  nature  painting  of  a  lofty 
kind,  one  might  almost  say  of  a  religious  kind,  the  kind  which 
seeks  the  abiding  reality  which  vivifies  all  outward  form.  It  was 
Millet  who  was  Hunt's  major  factor  in  developing  the  idealistic 
side  of  his  art.  "The  Flight  of  Time"  was  the  original  study  for 
a  mural  painting  for  the  Capitol  at  Albany,  N.  Y.,  which  was 
destroyed  by  fire. 

Several  important  works  by  Thomas  Eakins — a  "Crucifixion," 
and  "The  Singer" — are  placed  on  Wall  C.  He  was  a  pupil  of 
Bonnat  and  Gerome  at  the  time  when  both  these  eminent  French- 
men had  become  disciples  of  the  modern  movement  toward  real- 
ism which  swept  thhrough  France  in  the  middle  of  the  last  cen- 
tury, a  movement  championed  in  literature  by  Flaubert,  the  De 
Goncourts  and  Zola,  and  initiated  in  painting  by  Gustave  Cour- 
bet  and  Manet. 

Room  No.  54. 

We  have  reached  a  gallery  full  of  the  most  serious  interest 
to  students  and  lovers  of  American  art,  and  the  interest  is  pleas- 
urable; which  is  something  which  can  not  always  be  affirmed  in 
other  rooms  where  not  aesthetic  delight,  but  the  gathering  to- 
gether of  historical  links  in  the  chain  of  our  native  painting  is 
what  rewards  the  inquirer. 

Twelve  pictures  by  Winslow  Homer  cover  Wall  A.  There  are 
examples  of  his  work  from  its  early  painfully  crude  style  to  the 

24 


full  development  of  his  powerful  and  masculine  talent.  Born  in 
Boston  in  1836,  Winslow  Homer  began  life  as  a  lithographer's 
assistant,  developed  into  a  self-taught  magazine  illustrator,  and, 
though  he  studied  for  a  short  time  in  Paris,  he  owed  little  to 
outside  teaching  or  influence.  Serving  as  a  war  artist  for  Har- 
per's Weekly  in  the  sixties,  he  remained  in  the  south  when  the 
fighting  was  over  and  painted  many  pictures  which  today  have 
little  artistic  value.  It  was  when  he  went  to  live  on  the  Maine 
Coast  that  his  deep,  sincere,  truth-seeking  nature  found  its  true 
field  for  expression  and  he  began  to  paint  the  long  series  of 
marines  which,  beginning  with  studies  of  fisher  folk  ended  in 
dealing  with  the  spirit  of  Old  Ocean  itself  in  a  manner  which 
for  solemn  grandeur  remains  unequalled  by  the  work  of  any  other 
American   marine  painter. 

Frank  Currier,  whose  name  is  associated  with  Duveneck  and 
Chase,  as  one  of  those  who  brought  the  teachings  of  Munich  to 
this  country,  is  another  product  of  Boston,  where  he  was  born 
in  1843.  His  early  studies  were  made  under  William  Hunt.  His 
association  with  Munich  lasted  for  thirty  years.  Four  charac- 
teristic pictures  from  his  skilled,  if  not  strikingly  original  brush, 
hang  upon  Wall  B  (Nos.  2529,  2531,  2533*,  and  2534).  There 
are  also  on  this  wall  two  early  works  by  William  Morris  Hunt 
(Nos.  2528  and  2530),  a  George  Fuller,  and  two  Blakelocks, 
together  with  an  Inness  (No.  2539),  and  one  of  Winslow  Homer's 
anecdotic  earlier  things. 

It  was  George  Inness  who,  as  said  before,  was  one  of  the 
pioneers  of  those  American  painters  who  went  to  France,  and  who 
exerted  upon  their  return  such  a  profound  influence.  But  Inness 
found  the  artistic  food  his  nature  craved  not  in  the  academical 
studios  of  Paris  but  rather  from  the  example  of  the  innovators 
who  at  Barbizon  were  attempting  to  render  nature  in  a  way  not 
in  accordance  with  academical  principles,  but  which  was  destined 
to  found  an  entirely  new  school  of  painting. 

In  this  school  the  individual  mood  of  the  painter  was  inter- 
preted in  terms  of  natural  beauty,  and  artists  became  poets  and 
revealers  of  spiritual  values.  Inness,  however,  did  not  become  a 
mere  imitator  of  the  Barbizon  masters.  He  was  "a  pathfinder 
whose  originality  and  fiery  zeal  for  nature  blazed  a  new  trail 
that  has  led  on  to  the  notable  expansion  of  American  landscape 
painting."  He  was  born  at  Newburg,  N.  Y.,  in  1825,  and  for  a 
time  was  apprenticed  to  an  engraver.  His  first  instructions  in 
painting  were  imparted  by  a  French  artist  residing  in  New  York. 
But  he  was  really  his  own  teacher;  though  when  Corot  came 
into  his  life  his  style  became  that  of  his  ripest  period.  His  first 
work  was  as  distinctly  linked  with  the  panoramic  Hudson  River 
school  as  his  latest  was  with  Corot  and  synthetic,  poetical  sug- 
gestiveness.    He  died  in  1894. 

Inness  appears  again  on  Wall  C  (No.  2547).  There  is. 
also  a  Samuel  Isham,  and  two  attractive  figure  pieces  by 
Louis  Loeb,  but  the  artist  who  gives  the  dominant  character 
to  this  wall  is  Alexander  H.  Wyant  (Nos.  2541,  2543,  and  2545). 
As  we  have  had  occasion  to  say  before,  Wyant  was  one 
of  the  fathers  of  modern  American  landscape.  He  was  one 
of  that  great  trio  of  initiators  of  which  George  Inness  and  Homer 
Martin  were  the  other  two.  Wyant  was  born  in  1836  in  Ohio, 
being  the  first  of  the  long  line  of  distinguished  artists  who  have 
come  out  of  the  middle  west.     It  was  the  sight  of  a  picture  by 

25 


George  Inness  which  inspired  him  to  become  a  painter.  He  was 
then  twenty  and  had  never  before  seen  any  pictures — a  fact  which 
throws  light  upon  the  primitive  condition  of  his  State  at  that 
time.  He  had  already  begun  to  draw,  and  now,  scraping  together 
a  little  money,  the  sensitive,  poetical  country  lad  went  to  New 
York  and  tremblingly  approached  the  master  who  had  revealed 
to  him  the  glories  of  the  kingdom  of  art.  Inness  received  the 
aspirant  with  gracious  kindness,  looked  at  his  sketches,  and  said: 
"Yes,  you  nave  talent,"  words  that  were  like  those  of  a  king  to  a 
candidate  for  knighthood.  Going  to  Europe,  Wyant  studied  under 
a  Dusseldorf  artist,  but  he  instinctively  rebelled  and  soon  re- 
turned to  America,  where  the  influence  of  Inness  and  the  Barbizon 
paintings  gave  him  what  he  needed.  He  was  a  lyrical,  mystical 
nature  painter,  and  William  Wordsworth  supplied  him  with  his 
gospel.  He  died  in  1892,  after  frequently  exclaiming:  "If  I 
had  five  years  more,  even  one  year  more,  I  might  do  the  thing 
I  long  to  do,"  Wyant  had  the  humility  so  often  found  in  great 
artists,  and  so  markedly  absent  in  others. 

Upon  Wall  D  still  more  of  the  works  of  George  Inness  (No. 
2551)  and  of  George  Fuller,  two  very  fine  ones  (Nos.  2553  and 
2554),  are  found;  but  the  most  interesting  thing  is  Albert  P. 
Ryder's  "Jonah."  Ryder  is  a  singularly  independent  and  original 
figure.  There  is  something  in  him  that  recalls  the  great  English 
mystic,  William  Blake.  He  is  a  Massachusetts  product,  born  in 
New  Bedford  in  1847,  and  perhaps  the  spirit  of  the  New  England 
Transcendentalists  mingled  with  his  own.  This  picture  invokes 
the  impression  made  by  that  curious  mystical  novelist.  Herman 
Melville,  in  his  "Moby  Dick."  As  a  painter,  Ryder  seeks  to  com- 
pose strange  symphonies  of  color,  and  these  symphonies  are 
linked  with  spiritual  ideas.  As  pictures  they  are  exotically  beau- 
tiful, and  for  those  who  have  a  sympathy  with  symbols  they  open 
exciting,  though  baffling,  vistas  into  the  invisible  world.  Two 
figure  paintings  by  Dennis  Bunker  also  compel  attention.  (Nos.  253 
and  2549.)  Bunker  was  director  of  the  Cowles  Art  School  in  Bos- 
ton, where  he  died  at  the  age  of  twenty-nine  before  his  extraor- 
dinary talent  had  fully  developed. 

Room   No.  57. 

Three  men  of  prime  importance  are  grouped  together  in  this 
room. 

The  great  name  of  John  La  Farge  looms  largely  even  in  this 
necessarily  limited  and  sketchy  tracing  of  the  rise  and  progress 
of  a  young  nation's  art.  Wall  D  is  occupied  by  a  number  of  his 
beautiful  creations  (Nos,  2672,  2673,  2674,  and  2675).  This 
last  word  is  justly  employed,  for  La  Farge  was  an  authentic 
creator  in  an  art  in  which  far  too  many  content  themselves 
with  imitating  and  re-echoing  the  creative  ideas  of  others, 
A  pupil  of  William  Morris  Hunt,  and,  as  already  noted,  one 
of  the  first  to  imbibe  the  new  wine  of  Barbizon,  La  Farge 
combined  all  the  influences  which  played  upon  his  sensitive 
and  mystical  temperament  into  a  synthesis  stamped  with  the 
seal  of  his  own  splendid  personality.  Teacher  as  well  as  painter, 
he  moulded  or  affected  a  host  or  artists.  Many  authorities  con- 
sider him  the  greatest  mural  creator  so  far  produced  in  our 
country. 

Walls  A  and  B  are  devoted  to  a  large  number  of  paintings 
and  drawings  by  one  of  the  most  popular  of  all  Americans,  Edwin 

26 


A.  Abbey.  Pre-eminently  an  illustrator,  Abbey,  when  he  passed 
from  the  domain  of  magazine  and  book  work,  became  one  of  the 
very  few  modern  devotees  of  historical  painting  in  its  academical 
sense.  The  emphasis  of  modern  painting  is  laid  more  upon  treat- 
ment than  subject,  so  that  Abbey  stood  apart  from  the  main 
development  of  these  latter  days.  This  fact  does  not  lessen  his 
appeal,  nor  his  success.  Indeed  it  is  refreshing  at  times  to 
pass  from  the  more  or  less  feverish  atmosphere  of  those  who  are 
struggling  with  new  ideas  into  the  serene  sphere  of  those  who, 
content  with  established  principles,  strive  to  the  top  of  their 
powers  to  do  their  best  work.  Born  in  Philadelphia  in  1852, 
Abbey  settled  in  England,  and  before  his  death  a  few  years  ago 
he  had  won  the  highest  honors.  His  mural  pictures  decorate 
many  prominent  public  buildings.  Perhaps  his  best  known  murals 
are  the  "Holy  Grail"  series  in  the  Boston  Public  Library. 

With  the  name  of  Theodore  Robinson,  a  group  of  whose  land- 
scapes occupy  Wall  C,  we  touch  the  more  modern  note,  of  which, 
on  its  impressionistic  side,  Robinson  was  at  once  a  pioneer  and 
a  leading  American  exemplar.  He  was  a  pupil  of  Monet.  Born 
in  1854,  in  Vermont,  he  was  one  of  those  who  broke  away  from 
the  dominance  of  academicism  in  the  Society  of  American 
Artists  in  1877.  Before  his  death  in  1896  he  had  accomplished 
a  large  amount  of  solid  and  brilliant  work  in  the  impressionistic 
mode. 

CHAPTER  V. 

The  French   Impressionists. 

With  a  few  exceptions  all  the  work  in  this  room  is  associated 
with  the  origins  of  a  movement  which  revolutionized  modern 
painting,  and  which  has  had  the  major  share  in  the  develop- 
ment of  American  art. 

The  term,  "Impressionism,'"  seems  to  have  been  derived  from 
a  picture  by  Monet  exhibited  in  1863,  which  represented  a  sunset 
and  was  entitled  "An  Impression."  But  it  was  Manet  (1832-1883) 
who  was  the  initiator  of  the  movement.  Gustave  Courbet,  about 
the  year  1855,  broke  the  bonds  of  lifeless  classicism  and  mechan- 
ical romanticism  which  paralyzed  artistic  energies,  and  lead  the 
way  back  toward  a  healthy  realism  and  naturalism.  But  Courbet 
did  not  discover  the  way  into  the  open  air;  he  did  not  let  in  the 
light.  Manet  it  was  who  was  the  pioneer.  It  is  only  since  his 
time  that  paintings  have  fully  reflected  the  scintillant,  quiver- 
ing energy  of  sunlight  which  drenches  the  visible  world.  Among 
old  masters  there  are  a  few,  like  Correggio  and  Valesquez,  who 
admit  the  vibrancy  of  light;  but,  generally  speaking,  most  pre- 
impressionistic  painting  was  done,  as  it  were,  in  a  sort  of 
vacuum.  Which  is  not,  however,  to  detract  anything  from  its 
glory  and  its  mastery  in  its  own  varied  fields. 

Impressionism  has  been  defined  as  a  sort  of  pictorial  stenog- 
raphy. Ignoring  details,  which  a  quick  synthetic  vision  does  not 
seize,  it  was  also,  especially  at  first,  a  reaction  against  symbol- 
ism, intellectualism  and  literary  elements  in  painting.  Accord- 
ing to  Manet,  the  principal  person  in  a  picture  was  the  light;  and 
the  chief  element  of  his  technique,  namely,  the  laying  on  of 
pure  colors  side  by  side  on  the  canvas  so  that  they  would  com- 
ijine  when  seen  at  a  certain  distance  into  an  effect  similar  to 
the  impression  produced  by  gazing  at  an  object  bathed  in  light, 
became  tfte  corner  gtone  of  the  modern  method, 

ST 


Manet  was  followed  by  the  great  experimenter,  Claude  Monet, 
born  1840,  and  still  living.  With  Monet  came  Renoir,  Pissaro, 
Sisley,  and  many  other  lesser  lights  who,  as  Christian  Brinton 
remarks,  "quickly  flooded  studio  and  gallery  with  a  radiance 
ever  near  yet  until  then  so  strangely  neglected."  Pissaro  and 
Monet  were  influenced  in  London,  where  both  lived  for  a  time, 
by  the  later  works  of  Tiirnei — that  genius  who  worshiped  the 
sun  so  ardently  that  in  his  old  age  he  was  rewarded  by  reve- 
lations of  the  new  dispensation  of  light  and  sun-filled  air. 

But  it  would  be  a  mistake  to  consider  that  Impressionism 
spread  its  luminous  message  only  from.  Paris.  That  message 
seemed  to  be  "in  the  air,"  like  sunshine  itself,  and  found  its 
way  into  painting  at  about  the  same  time,  in  various  parts  of  the 
world.  The  lonely  peasant-painter,  Segantini,  in  the  Italian  Alps; 
Sorolla,  on  the  glaring  shores  of  Spain,  and  others  elsewhere, 
were  discovering  its  secrets,  but  Paris  was  the  center  of  radiation. 
Readers  of  George  Moore  s  inimitable  "Confessions  of  a  Young 
Man"  will  remember  the  fascinating  scenes  in  the  now  world- 
famous  Cafe  de  la  Nouvelle  Athenee,  where  the  ridiculed  little 
band  of  revolutionists  used  to  gather  to  discuss  their  theories, 
aided  manfully  in  the  press  by  Catulle  Mendes,  Baudelaire,  and 
Zola.  Only  one  dealer  believed  in  them — and  he  eventually  made 
a  fortune.  And  now  the  French  government  sends  to  San  Fran- 
cisco examples  of  their  works  which  rank  high  among  the  treas- 
ures of  the  nation.  To  certain  American  painters  living  in  Paris 
at  that  time,  or  a  little  later,  the  new  revelation  came  with  con- 
vincing force.  Among  them  were  Mary  Cassatt,  Childe  Hassara, 
F.  W.  Benson,  Edmund  C.  Tarbell  and  George  Hitchcock.  Gari 
Melchers  was  also  allied  with  them.  None  save  Childe  Hassam 
remained  quite  faithful  to  the  extreme  type  of  the  broken  color 
method. 

Wall  A  is  devoted  to  Monet.  An  example  of  his  early,  literal 
manner  is  to  be  seen  in  the  seaside  scene.  The  haystack  paint- 
ing and  the  lovely  lily  pond  recall  the  fact  that  Monet  would 
paint  the  same  subject  at  various  hours  of  the  day  in  order  to 
show  how  its  aspect  changed  under  varying  conditions  of  light. 
Both  these  pictures  belong  to  series  of  the  same  subjects. 

A  number  of  the  works  of  Pissaro,  Sisley,  and  Renoir  hang 
upon  Wall  C,  surrounding  a  painting  by  Eugene  Crarriere,  a 
refined  and  sensitive  artist  who  revolted  against  the  exaggerations 
of  the  "plein  air''  school  and  bathed  his  figures  in  a  sort  of  fluid 
glow  of  twilight  which  conveys  an  impression  of  melancholy. 
Pissaro  and  Sisley  were  landscapists.  Renoir  is  primarily  a  figure 
painter,  and  a  master  of  still-life.  His  has  remained  a  very 
potent  influence. 

Upon  Wall  D  hangs  an  interesting  group  of  small  landscapes 
by  Eugene  Boudin  (1824-1898),  a  painter  who,  though  conserva- 
tive and  of  an  older  school,  shows  affiliations  with  Impressionism 
and  encouraged  Claude  Monet  to  fight  his  early  battles.  Renoir 
is  further  represented  by  two  canvases  (Nos.  2833,  2828),  but 
the  commanding  interest  of  this  wall  is  the  Puvis  de  Chevannes, 
an  exquisite  painting  to  which  those  who  appreciate  his  genius 
are  drawn  again  and  again.  In  Puvis  de  Chavannes  (1824-1898) 
you  find  the  result  of  the  teachings  of  the  plein  air  school 
mingled  with  the  symbolism  and  idealism  and  poetical  spirit 
which  radical  realists,  and  painters  only  interested  in  technique 
and  material  considerations,  would  banish  from  art,  but  which  re- 

28 


turn  again  and  again.  Puvis  is  usually  accorded  the  honor  of  be- 
ing the  greatest  decorative  mural  painter  of  the  nineteenth  cen- 
tury.   One  of  his  great  works  is  in  the  Boston  Library. 

In  following  the  story  of  Impressionism  we  have  left  Wall  B 
until  the  last,  but  it  could  not  possibly  be  ignored,  holding  as  it 
does  a  picture  by  Gaston  La  Touche  (No.  2815),  an  artist  who 
reacted  from  realism  to  the  elegant  manner  of  the  artificial 
eighteenth  century;  and  another,  more  important,  by  Fritz  Thau- 
lau,  the  Norwegian  master,  who  is  said  to  be  the  greatest  painter 
of  running  water  who  has  ever  lived,  and  also  one  by  Nicholas 
Fechin,  a  modern  Russian  of  the  younger  school.  This  picture, 
hanging  in  the  center  of  the  wall,  has  attracted  much  interest 
and  has  been  the  occasion  for  a  great  deal  of  discussion. 

CHAPTER  VI. 
Modern   American  Art. 

From  this  point  on  the  rooms  to  be  dealt  with  in  the  American 
Section  contain  modern  work.  It  is  not  within  the  design  of  this 
brief  guide  to  assign  each  artist  represented  in  this  immense 
collection  to  his  precise  place  in  the  school  to  which  ade- 
quate criticism  might  link  him.  What  is  done  instead  is  of  a 
very  practical  nature.  The  jury  has  pronounced  its  verdicts- 
upon  this  large  body  of  work — save,  of  course,  in  the  case  of  the 
eminent  artists  placed  hors  concours — and  all  the  artists  whose 
woik  has  been  honored,,  from  Grand  Prize  down  through  the  list 
of  Medal  of  Honor  and  Gold  Medal  artists,  including  some  of  those 
granted  lesser  awards,  will  be  pointed  out  as  we  proceed. 

This  plan,  obviously,  commits  us  to  the  guidance  of  authority, 
to  the  direction  of  the  official  jury,  to  be  precise;  however,  we  are 
not  engaged  in  a  personal  adventure,  seeking  the  things  which  we 
individually  may  like,  but,  rather,  we  are  making  a  definite  effort 
to  gain  a  certain  connected  and  logical  acquaintance  with  the 
general  line  of  American  art.  Just  the  same,  we  should  supple- 
ment this  study  with  the  personal  exploration.  Knowledge  with- 
out emotional  enjoyment  is  of  no  real  avail  in  art. 

The  artists  exhibited  individually  in  separate  rooms  will  be 
dealt  with  in  the  chapter  following  this  one. 

Room  No.  55. 

While  there  are  several  schools  and  influences  mingling  in 
this  room,  the  dominant  interest  is  supplied  by  two  typical  ex- 
amples of  Alexander  Harrison's  marine  paintings;  one  (No.  2566) 
on  Wall  A,  and  the  other  (No.  2697)  on  Wall  D. 

There  are  other  pictures  by  Harrison  to  be  seen  elsewhere 
in  the  galleries,  one  especially  notable  work  (No.  3080)  being 
placed  in  the  rotunda,  which  is  numbered  as  Room  66.  Harrison, 
born  in  Philadelphia  in  1853,  a  pupil  of  Bastien  Lepage  and  Ger- 
ome  in  Paris,  was  one  of  the  first  of  the  American  artists  who,  in- 
spired by  Manet,  took  up  the  painting  of  figures  in  natural  sur- 
roundings in  the  open  air — the  school  of  ''plein  airy  The  picture 
hangs  to  the  right  as  you  enter  by  the  eastern  portal.  It  is  a  group 
of  nude  figures  on  the  seashore,  and  apart  from  its  own  inherent 
charm,  deserves  notice  and  study,  as  does  all  this  painter's  work, 
because  of  the  important  part  it  played  as  a  formative  influence 
in  American  art.  The  truthful,  yet  poetical,  rendering  of  the 
play  of  sunlight  upon  the  delicate  flesh  tones,  and  the  ambience 

29 


of  the  atmosphere,  produced  a  profound  effect  upon  Harrison's 
contemporaries,  and  did  much  to  open  the  door  to  public  appre- 
ciation of  modern  landscape  and  figure  painting. 

A  picture  by  Kenyon  Cox,  one  of  the  prominent  mural  paint- 
ers of  the  academic  school,  hangs  on  Wall  C  (No.  2586).  Charles 
C.  Curran,  another  well-known  name,  is  represented  by  No.  2595 
on  Wall  D.  Several  California  painters  also  draw  attention.  Jean 
Mannheim  (No.  2579),  who  recently  settled  in  Los  Angeles,  and 
Maurice  Braun  (No.  2564),  another  Southern  California  artist, 
exhibit  attractive  work,  and  Evelyn  McCormick,  a  San  Francisco 
painter,  uses  a  subject  historically  as  well  as  pictorially  attrac- 
tive, in  her  "Old  Custom  House,  Monterey."  An  interesting 
group  of  small  seaside  scenes  by  E.  Potthast,  on  Wall  C,  is  a 
popular  feature  of  the  room. 

Room    No.   56. 

There  are  several  notes  of  special  interest  in  this  room.  Upon 
Wall  A,  Elizabeth  Nourse  and  Marion  Powers,  both  of  whom  were 
awarded  Gold  Medals,  are  represented,  each  by  a  typical  group. 
EliEabeth  Nourse  was  a  pupil  of  Henner  and  Carolus-Duran  in 
Paris.  Her  first  official  honor  was  won  at  the  Chicago  Exposition 
in  1893.  Another  medal  winner — silver — represented  on  this  wall 
is  Mary  C.  Richardson,  whose  young  mother  with  sleeping  child 
is  a  charming  example  of  this  Californian's  figure  work.  A  ro- 
mentic  landscape  by  Ettore  Caser,  a  Venetian,  who  now  lives  in 
Boston,  also  hangs  on  this  wall.  Caser  is  the  winner  of  a  Silver 
Medal. 

George  Hitchcock,  one  of  the  pioneers  of  Impressionism,  has 
several  of  his  typical  Holland  canvases  on  Wall  B.  Two  painters 
of  San  Francisco,  Anne  M.  Bremer  and  Carl  Oscar  Borg.  are  also 
on  this  wall.  Of  Miss  Bremer  something  fuither  is  said  in  the 
chapter  dealing  with  the  woman's  room.  Borg,  a  painter  and 
etcher  who  has  worked  much  in  Mexico,  has  been  awarded  a 
Silver  Medal.     (No.  2618.) 

F.  W.  Stokes,  a  pupil  of  Thomas  Bakins,  and  of  Gerome  and 
Boulanger  in  Paris,  exhibits  on  Wall  D  a  group  of  interesting 
canvases  which  are  the  result  of  his  observations  in  the  Arctic 
as  a  member  of  the  Peary  expedition  of  1893-94,  and  of  a  similar 
artistic  exporation  of  the  marvels  of  the  Antarctic  region. 
Room  No.  85. 

A  group  of  painters  of  major  importance,  in  some  cases,  and 
all  of  whom  occupy  settled  places,  is  assembled  in  this  room. 

Its  greatest  name  is  Horatio  Walker,  four  of  whose  big  and 
virile  paintings  hang  on  Walls  A  and  B.  Walker  is  Canada's 
greatest  contribution  to  American  art.  Born  in  Ontario  in  1858, 
he  received  his  training  in  New  York.  It  is  the  Island  of  Orleans 
in  the  St.  Lawrence  river,  which  forms  the  regular  scene  of 
Walker's  work.  There  where  the  inhabitants,  the  descendants  of 
French  settlers,  have  preserved  the  primitive  way  of  life  of  their 
forefathers,  this  artist  paints  pictures  of  figure  and  landscane 
full  of  fine  and  tender  human  feeling,  strongly  drawn  and  subtly 
and  eloquently  colored.    A  Gold  Medal  has  been  awarded  to  him. 

To  the  work  of  Charles  W.  Stetson,  an  artist  who  has  long 
resided  in  Rome,  though  most  of  his  early  work  was  done  in 
Southern  California,  Wall  C  is  devoted.  A  romantic  aspect 
dominates  his  numerQus  figure    and  landscape  paintings.   He  also 

^0 


shows  a  portrait  of  his  wife,  Grace  Ellery  Chanuing  Stetson,  the 
well-known  author. 

Two  figure  painters  of  much  distinction,  Douglas  Volk  and 
C.  W.  Hawthorne,  are  on  Wall  B.  Both  are  represented  by  three 
pictures  each.  Douglas  Volk  belongs  to  an  earlier  period  than 
Hawthorne,  who  links  up  with  the  more  modern  movement.  To 
Volk  has  been  awarded  a  Gold  Medal,  and  to  Hawthorne  a  Silver 
Medal. 

Upon  Wall  D  hangs  a  mother  and  child  by  Clara  Weaver  Par- 
rish,  who  has  won  a  Silver  Medal.  But  the  prime  interest  is 
supplied  by  George  DeForest  Brush,  three  examples  of  whose 
path-breaking  work  hang  on  Wall  D.  A  pupil  of  Gerome.  Brash 
opened  up  the  field  of  imaginative,  thoughtful  treatment  of  our 
vanishing  Indian  life.  Brush  is  also  distinguished  for  his  pictures 
of  mothers  and  children. 

Room   No.  65. 

This,  one  of  the  most  spacious  rooms  in  the  building,  is  also 
one  of  the  most  interesting,  as  it  is  exclusively  devoted  to  the 
work  of  women.  That  their  work  rests  for  its  interest  not 
merely  upon  the  fact  that  they  are  women,  but  upon  solid  grounds 
of  merit,  is  denoted  by  the  large  number  of  awards  granted  by 
the  jury. 

Two  names  stand  prominently  forth  from  the  others.  There 
is  Mary  Cassatt,  the  pupil  of  Manet,  and  one  of  the  pioneers  in 
Impressionism,  who  is  represented  by  a  characteristic  group 
of  works.  As  all  the  canvases  by  her  date  from  befo  e  the 
year  1904 — and  as  all  works  produced  before  that  time  co  ild  not 
be  entered  in  competition  for  prizes — Mary  Cassatt  was  placed 
"hors  concours,''  or  "out  of  the  race,"  for  official  honors.  Her 
paintings  are  on  Wall  B  (Nos.  3006,  3008,  and  3010).  They  have 
attracted  a  large  share  of  admiration.  Mary  Cassatt  is  one  of  the 
pioneers  of  Impressionism,  having  been  in  Paris  at  the  time  the 
movement  was  initiated. 

The  other  big  name  is  that  of  Cecilia  Beaux.  To  her  has 
been  awarded  a  Medal  of  Honor  by  the  Grand  Jury  of  the  Pa- 
nama-Pacific Exposition,  the  highest  honor  in  its  gift  next  to 
that  of  Grand  Prix.  A  native  of  Philadelphia,  Cecilia  Beaux 
studied  in  Paris.  Honors  have  been  showered  thickly  upon  her. 
She  has  won  medals  at  practically  all  the  prominent  American 
exhibitions,  and  also  a  gold  medal  at  the  Paris  Exposition  in 
1900.  Wall  A,  with  the  exception  of  one  picture,  is  devoted  en- 
tirely to  her  work,  of  which  seven  characteristic  examples  are 
shown.  Unquestionably,  Cecilia  Beaux  now  takes  rank  as  the 
leading  American  woman  painter. 

Another  winner  of  a  Medal  of  Honor  is  Violet  Oakley,  whose 
"The  Tragic  Muse"  (No.  3015),  hangs  on  Wall  B.  It  is  a  portrait 
of  Mrs.  Florence  Earle  Coates,  the  distinguished  poet.  Another  very 
notable  work  by  this  artist,  a  stained  glass  window,  the  subject 
of  which  is  Dantes  Divine  Comedy,  is  exhibited  in  Room  No.  38. 
Born  in  New  York,  at  first  a  student  of  Howard  Pyle  and  Cecelia 
Beaux,  and  later  of  Lazar  and  Collin  in  Paris,  Violet  Oakley 
now  takes  high  rank  among  American  mural  painters.  Her  chief 
work  is  in  the  Capitol  at  Harrisburg,  Pa. 

There  are  also  three  winners  of  Gold  Medals  in  this  room,  to- 
gether with  several  winners  of  Silver  Medals.  The  Gold  Medal- 
ists aie  Lillian  W.  Hale,  Ellen  Emmet  Rand  and  Johanna  K. 

31 


Woodwell  Hailman.  Mrs.  Hailman's  "To  Market  in  the  West 
Indies,"  an  old  woman  with  a  basket  of  poultry  on  her  upright 
head,  is  a  very  fresh  and  original  decorative  work. 

Ellen  Emmet  Rand  shows  a  portrait  of  Professor  William 
James  (No.  2995),  and  four  other  paintings  attractive  in  their 
subject  matter  and  of  a  high  degree  of  technical  excellence. 
(Wall  B,  Nos.  2986,  2990,  2991,  and  2993.) 

Mrs.  Hale  shows  two  canvases.  The  quest  of  beauty,  refined  or 
romantic  beauty,  is  her  object  rather  than  experiments  in  paint- 
ing, or  the  pursuit  of  realism.  Her  work  is  on  Wall  A  (Nos.  2997 
and  2998). 

Two  Silver  Medalists  have  pictures  hanging  on  Wall  C.  M. 
Jean  McLane — a  well-known  pupil  of  Chase — is  represented  by 
three  vivid  and  flowingly  painted  portiaits. 

Mary  Curtis  Richardson,  the  other  Silver  Medalist,  is  a  Cali- 
fornian  painter.  Her  "The  Young  Mother"  has  won  popular  favor 
as  well  as  critical  acclaim. 

Gertrude  Lambert's  "Black  and  Green"  and  Maude  Drien 
Bryant's  three  still  life  studies,  and  Anna  Traquair  Lang's 
notable  group,  especially  the  "Japanese  Print,"  attract  and  repay 
attention. 

Upon  Wall  D,  among  the  pictures  of  Cecelia  Beaux,  is  shown 
an  attractive  example  of  modern  work  by  Anne  M.  Bremer,  a 
Californian  artist,  who  has  studied  in  Paris  and  is  one  of  several 
young  painters  who  have  brought  to  the  West  the  stimulation  of 
modernity.  Several  other  examples  of  Miss  Bremer's  work  hang 
elsewhere.     A  Bronze  Medal  has  been  awarded  her. 

Two  women  sculptors  exhibit  cases  of  their  small  bronzes 
in  this  room.  Bessie  Potter  Vonnoh  has  won  a  Silver  Medal. 
The  other  is  Abastenia  St.  Leger  Eberle.  Anna  Vaughan  Hyatt 
exhibits  a  vigorous  "Eight-Horse  Group. " 

Room    No.   80. 

This  has  been  termed  "The  Boston  Room,"  as  it  contains 
the  work  of  several  eminent  artists  of  that  city,  among  whom 
are  two  members  of  the  jury,  Philip  L.  Hale  and  William 
Paxton. 

To  another  artist  in  this  room,  Willard  L.  Metcalf,  has  been 
awarded  a  Medal  of  Honor,  which,  as  stated  before,  ranks  higher 
than  a  Gold  Medal. 

Philip  L.  Hale,  a  son  of  the  famous  Rev.  Edward  Everett 
Hale,  is  a  well-known  writer  as  well  as  painter.  He  is  a  pupil 
of  J.  Alden  Weir,  a  fellow  member  of  the  jury.  His  group  of 
paintings  hang  together  on  Wall  A,  where  also  are  found  the 
works  of  Paxton.    The  latter  was  a  pupil  of  Gerome  in  Paris. 

Upon  Wall  A  hang  five  pictures  by  Metcalf,  of  which  No. 
3770,  a  study  of  shimmering  green  leaves,  is  an  especially  re- 
markable work.  Metcalf  is  a  New  Yorker,  though  born  in  Massa- 
chusetts. A  pupil  of  Boulanger  and  Lefebvre  in  Paris,  his  pres- 
ent Medal  of  Honor  comes  as  the  climax  to  a  long  series  of 
official  honors.  A  spirit  of  blithe,  happy  lyricism  breathes 
through  these  vibrant  studies  of  Spring  and  Winter  landscapes. 

Another  New  Yorker,  Bruce  Crane,  a  pupil  of  that  great  early 
American  landscapist,  Alexander  H.  Wyant,  has  a  Silver  Medal 
picture,  a  pleasing  landscape  (No.  3783)  on  Wall  B. 


Room  No.  51. 

This  room  has  been  characterized  as  devoted  to  the  works 
of  Thomas  Anshutz,  the  pupils  of  Anshutz,  and  of  their  pupils; 
but,  save  to  those  who  may  be  aware  of  this  inter-relation  of 
the  artists,  the  pictures  seem  of  a  wide  variety  of  subject  and 
method.  Unquestionably,  the  ultra-modern  pictures  of  Brecken- 
ridge,  for  example,  are  a  far  cry  fiom  the  work  of  Anshutz. 

Thomas  Anshutz  is  represented  by  two  canvases  (Nos.  2474 
and  2499).  Born  in  Kentucky  in  1841,  his  early  training  was 
received  at  the  National  Academy  of  Design,  New  York,  and  the 
Pennsylvania  Academy  of  the  Fine  Arts.  Later  he  studied  under 
Doucet  and  Bouguereau  in  Paris.  A  teacher  in  the  Pennsylvania 
Academy  of  the  Fine  Arts  for  many  years  before  his  death,  he 
influenced  many  of  the  younger  generation. 

It  is  the  name  of  Robert  Henri  which  is  the  most  vital  and 
best  known  in  this  room.  Henri's  group  hangs  on  Wall  C 
(Nos.  2487,  2489,  2491,  2493,  2495,  2498,  and  2501),  among 
them  being  several  paintings  in  his  latest  manner — a  manner 
that  has  caused  much  discussion  among  those  who  follow  the 
work  of  a  man  who  is  the  leader  of  a  revolutionary  section 
of  young  New  Yorkers,  and  who  is  a  piquant  and  stimulating 
figure  in  the  radical  set.  Henri  was  born  in  Ohio  in  1865, 
and  studied  in  the  Pennsylvania  Academy  of  the  Fine  Arts  under 
Anshutz,  and  in  Paris,  Spain  and  Italy.  He  has  been  a  winner 
of  many  honors  and  has  been  awarded  a  Silver  Medal  at  this 
exhibition.  For  a  man  brought  up  under  such  academical  forces 
as  those  of  the  Julian  Academy  in  Paris,  Henri  has  displayed 
a  remarkable  originality  and  independence,  and  his  work  has 
tended  more  and  more  to  be  realistic  statements  of  a  reaction 
from  sentimentality  and  trite  subjects. 

Two  other  Silver  Medalists  hang  in  this  room,  A.  B.  Carles 
and  Adolph  Borie,  both  painters  of  the  nude,  and  both  of  what 
may  be  roughly  termed  the"  school  of  individualistic  realism. 
Their  pictures  hang  on  Wall  A,  together  with  a  group  by  W.  J. 
Glackens  (2466,  2468,  2469,  and  2470),  another  radical  and  experi- 
mental younger  man.  An  interesting  picture  by  the  same  artist 
hangs  on  Wall  D,  a  group  seated  in  the  celebrated  Moquin  Cafe 
on  Sixth  Avenue,  New  York,  a  more  or  less  Bohemian  resort  for 
painters  and  writers.  All  the  figures  are  portraits  of  well-known 
people;  artists,  an  art  patron,  and  a  member  of  the  demi-mondaine. 

Wall  B  is  devoted  to  Hugh  H.  Breckenridge,  the  winner  of 
a  Gold  Medal,  and  a  highly  interesting  case  of  a  mature  artist 
turning  from  a  settled  style  to  a  newer,  technically  more  radi- 
cal, style  and  winning  success  therein.  A  pupil  of  Bouguereau 
and  other  academical  masters  in  Paris,  and  an  instructor  in  the 
Pennsylvania  Academy  of  the  Fine  Arts  since  1894,  Breckenridge 
has  won  many  honors.  The  large  group  of  still  life  and  flower 
pictures  which  he  displays  is  an  interesting  chapter  of  the  de- 
velopment in  America  of  the  movement  in  search  of  an  intense 
reality  in  painting  which  stems  from  the  work  of  Cezanne  and 
Van  Gogh,  but  which  has  exfoliated  into  strange  branches  and 
fruits  which  sometimes  show  no  apparent  connection  with  the 
trunk  from  which  they  spring. 

Room  No.  50. 

Sergeant  Kendall,  a  recipient  of  many  honors  in  both  painting 
and  sculpture,  has  been  awarded  a  Gold  Medal  for  the  pictures 

88 


shown  in  this  room,  and  a  Silver  Medal  tor  the  polychromatic 
wooden  statue  also  displayed  here.  A  figure  painter,  primarily, 
Kendall's  work  is  academical,  charming  and  always  popular.  Three 
of  his  canvases  (Nos.  2439,  2442  and  2443)  hang  on  Wall  B. 

Other  well-known  names  are  those  of  Louis  Kronberg,  a  Sil- 
ver Medal  winner,  of  Boston,  a  painter  who  has  specialized  in 
pictures  of  ballet  girls  and  dancers,  of  which  a  typical  example 
is  hung  on  Wall  A;  and  H.  D.  Murphy,  a  group  of  whose  can- 
vases hang  on  the  same  wall.  Another  Silver  Medalist,  who 
like  Murphy,  lives  in  Massachusetts,  is  Ettore  Caser,  a  native 
of  Venice,  one  of  whose  romantic  landscapes,  of  which  several 
are  displayed  in  various  rooms  (No.  2457),  is  upon  Wall  D. 
J.  F.  Carlson,  a  New  Yorker,  is  still  another  winner  of  a  Silver 
Medal,  his  landscape  (No.  2452)  being  on  Wall  B. 

The  Californians,  of  whom  there  is  a  strong  showing  in  this 
room,  comprise  several  of  the  most  inteiesting  of  the  younger 
group.  Of  the  prize  winners  among  them,  Armin  Hansen,  Bruce 
Nelson,  Charlton  Fortune  and  Anne  Bremer,  mention  is  made 
elsewhere.  Betty  De  Yong,  winner  of  an  Honorable  Mention,  is 
another  young  (Z!alifornian  artist,  by  adoption,  whose  work  has 
attracted  much  attention. 

Room  No.  66. 

This  is  the  number  of  the  hall,  or  rotunda,  into  which  the 
eastern  and  western  main  entrances  of  the  Fine  Arts  building 
open.  The  eastern  entrance  is  marked  on  the  plan  as  Room 
No,  83,  and  the  west  entrance  as  Room  No.  35.  Room  No.  66 
connects  the  southern  and  northern  wings  of  the  building.  All 
the  ground  so  far  covered  in  this  guide  is  in  the  southern  wing. 
Most  of  the  pictures  hanging  here  have  been  referred  to  else- 
where. A  good  deal  of  the  notable  sculpture  is  placed  in  this 
room,  the  most  prominent  being  referred  to  in  the  chapter  on 
Sculpture. 

On  Wall  A,  above  the  doorway,  hangs  a  powerful  piece  of 
mural  decoration  by  Charles  J.  Dickman,  a  California  painter, 
a  member  of  the  jury.  Several  decorative  panels  by  H.  G. 
Cushing,  a  Gold  Medal  artist  already  mentioned,  hang  on  Wall 
B,  together  with  landscapes  by  Haley  Lever,  Ettore  Caser  and 
F.  M.  Lamb.  On  the  west  wall  or  Wall  C  is  Robert  Vonnoh's 
"Poppies. '  On  the  north  wall  is  Alexander  Harrison's  "The  Joy 
of  Life,"  a  picture  which,  as  stated  before,  was  one  of  those  which 
did  much  to  stimulate  the  interest  of  American  painters  in  the 
plein  air  branch  of  Impressionism. 

In  the  eastern  hall,  numbered  83,  are  four  decorative  panels 
by  Mrs.  Sargent  Florence,  an  American  artist  residing  in  Italy. 

In  the  western  entrance  hall,  numbered  35,  is  a  large  mural 
by  Henry  B.  Fuller,  "The  Triumph  of  Truth  Over  Error."  This 
was  awarded  a  Silver  Medal. 

Room   No.  67. 

A  Medal  of  Honor  seascape  hangs  in  this  room,  among  many 
interesting  examples  of  the  work  of  vital  contemporary  men.  It 
is  by  Emil  Carlsen;  it  is  numbered  3183,  it  hangs  on  Wall  D — 
but  it  hardly  needs  any  directions  to  find  it,  for  its  blue  and 
windy  vision  of  mid-ocean  catches  the  eye  at  once.  Emil  Carl- 
sen  is  an  artistic  gift  from  Denmark  to  this  country,  and  his 

34 


vigorous  painting  of  marine  subjects  has  brought  him  to  suc- 
cess. 

Another  marine  artist  whose  work  is  well  and  favoiably 
known  and  which  has  been  awarded  a  Gold  Medal,  is  Paul 
Dougherty.  Four  pictures  by  him  hang  on  Wall  A.  Paul  Dough- 
erty is  a  New  York  man,  of  such  independence  of  mind  that  he 
studied  without  any  masters  in  Paris,  London,  Florence,  Venice 
and  Munich.  Examples  of  his  work  hang  in  all  the  principal 
galleries  of  the  country. 

,  Another  Gold  Medalist  is  Charles  H.  Davis,  whose  vigorous 
picture,  "The  Northwest  Wind"  (No.  3160),  hangs  on  Wall  B. 
Davis  is  a  Connecticut  man,  a  pupil  of  the  Boston  Museum 
School  and  of  Boulanger  and  Lefebvre  in  Paris,  and  the  re- 
cipient of  many  previous  official  honors. 

Robert  Spencer,  whose  "The  Gray  Mills"  hangs  on  Wall  C, 
was  also  awarded  a  Gold  Medal.  A  native  of  Nebraska,  he  is 
a  young  man,  a  pupil  of  Chase,  DuMond,  and  Henri.  He  is  an 
interpreter  of  modern  humble  life,  the  grim,  gray  world  of  in- 
dustrial  conditions. 

The  work  of  yet  another  Gold  Medal  Winner,  a  sculptor  this 
time,  is  exhibited  in  one  of  the  cases.  It  is  by  Arthur  Putnam,  a 
San  Franciscan  artist  for  whom  the  word  genius  is  perhaps  not  too 
great  an  epithet.  As  a  moulder  of  animal  figures  he  creates 
work  that  seems  fairly  to  quiver  with  the  force  of  life.  The 
Metropolitan  Museum  in  New  York  possesses  one  of  his  pieces, 
which  sustain  comparison  with  the  work  of  masters  like  Barye. 

Hayley  Lever,  whose  "Boats  in  Harbor"  hangs  upon  Wall  C. 
is  yet  another  winner  of  a  Gold  Medal.  Several  other  vivid, 
interesting  pictures  by  Lever  hang  in  other  rooms.  On  this 
wall  is  an  interesting  work  by  an  academical  but  powerful 
painter,  Hugo  Ballin  (No.  3175). 

There  are  a  number  of  artists  placed  in  this  room — some  of 
them  also  being  hung  in  other  rooms — who  have  won  Silver 
Medals.  No  less  than  four  of  them  are  Californians.  They  are 
Joseph  Raphael,  Armin  C.  Hansen,  William  Wendt  and  Carl 
Oscar  Borg. 

Raphael  has  three  pictures,  No.  3154,  on  Wall  A,  and  No.  3165, 
on  Wall  B,  and  No.  3189,  on  Wall  D.  Born  in  Amador  County, 
California.  Raphael  is  one  of  those  artists  who  have  won  their 
way  through  great  difficulties  and  hardships.  He  is  at  present 
continuing  his  studies  in  Holland. 

Armin  C.  Hansen's  painting  is  on  Wall  B  (No.  3161).  He  is 
a  young  man  of  whom  big  things  are  expected.  A  work  that 
perhaps  represents  him  in  a  more  congenial  mood  than  the 
one  in  this  room  hangs  in  Room  50,  on  Wall  B  (No.  2441). 

William  Wendt,  now  associated  with  southern  California,  is 
a  German  who  came  to  this  country  early  in  life,  and  is  a 
self-taught  artist.  Two  of  his  pictures  (3169  and  3172)  are  on 
Wall  C. 

Oscar  Borg  has  already  been  spoken  of.  His  "Chateau  Gail- 
lard"  hangs  on  Wall  B. 

John  F.  Carlson,  a  New  York  painter,  is  a  Silver  Medalist, 
three  of  whose  Spring  and  Winter  landscapes  hang  on  Wall  D 
(Nos.  3179,  3180  and  3188).  An  interesting  canvas  by  Charles 
Francis  Brown,  a.  member  of  the  jury,  hangs  on  Wall  A  (No.  3143). 


35 


Room  No.  08. 

The  work  of  a  Medal  of  Honor  man  is,  officially,  at  all  events, 
the  chief  point  of  interest  in  this  room,  which  contains  a  great 
deal  of  important  modern  American  painting. 

W.  E.  Schofield  is  the  winner  of  the  highest  honor.  Two 
large  Winter  landscapes  by  him  hang  on  Wall  D.  Born  in 
Philadelphia,  and  a  pupil  of  the  Pennsylvania  Academy  of  the  Fine 
Arts  and  then  of  Bouguereau,  Ferrier,  and  others  in  Paris,  Scho- 
field has  had  a  long  career  marked  by  many  ofticial  honors,  com- 
ing to  a  climax  at  this  exhibition.  Most  of  tlie  important  per- 
manent public  collections  of  this  country  contain  pictures  by 
►:im 

H.  G.  Gushing,  whose  strikingly  decorative  work  is  shown 
by  three  examples  on  Wall  A  (Nos.  3231,  3233  and  3234)  and 
which  also  hangs  in  the  rotunda  (Room  66),  to  your  left  as  you 
enter  the  eastern  door,  was  awarded  a  Gold  Medal.  Gushing  is  a 
Boston  painter,  a  pupil  of  Laurens  and  Gonstant  in  Paris. 

Upon  Wall  A  hang  two  marine  pictures  by  William  Ritschel, 
another  Gold  Medalist  whose  woik  is  also  mentioned  in  other 
rooms.  There  are  also  paintings  by  Walter  McEwen,  a  member  of 
the  jury,  and  one  by  another  juryman,  Matteo  Sandona,  a  San 
Franciscan,  a  portrait  of  Mrs.  Leo  Lentelli,  wife  of  the  sculptor. 

John  G.  Johansen,  winner  of  a  Gold  Medal,  is  a  native  of 
Denmark,  but  a  thoroughly  American  artist,  a  student  of  Frank 
Duveneck,  and  of  the  Julian  Academy  in  Paris.  His  large  paint- 
ing of  "The  Village  Rider"  hangs  on  Wall  B,  together  with  a 
number  of  other  characteristic  works  by  him.  On  this  wall  is 
placed  two  paintings  by  a  Galifornia  artist  of  high  merit,  a  painter 
in  whom  there  is  a  large  measure  of  true  poetry,  Gottardo  Piaz- 
zoni   (Nos.  3245  and  3253). 

Daniel  Garber  is  still  another  Gold  Medal  artist.  A  young 
and  vigorous  painter  of  the  modern  school,  a  native  of  Indiana, 
and  a  pupil  of  the  Gincinnati  Academy  and  of  Thomas  An- 
schutz  in  Philadelphia,  Garber  is  a  leading  member  of  that  inter- 
esting body  of  artists  springing  up  in  the  Middle  West.  Six 
of  his  typical  canvases  hang  on  Wall  G. 

Room   No.  69. 

Visitors  to  this  room  at  about  the  time  the  jury  completed  its 
work  saw  beneath  one  of  the  pictures  a  wreath  of  flowers 
which  hung  there  for  many  days,  drooping  and  withering.  It 
told  a  tale  which  brought  into  the  Palace  of  Art  a  pensive 
thought  of  human  mortality.  Just  as  a  Medal  of  Honor  had  been 
awarded  to  the  artist  the  news  came  of  his  sudden  death.  He 
was  John  W.  Alexander,  a  man  who  took  rank  with  William  Chase 
and  Sargent  among  American  artists.  The  picture  is  the  cele- 
brated "Phyllis,"  loaned  by  the  Gity  Art  Museum  of  St.  Louis,  a 
graciously  beautiful  canvas  in  which  there  seems  one  knows  not 
what  of  wistful  melancholy,  which  makes  itself  felt  despite  the 
youthfulness  of  the  tall,  slim  girl  who  holds  the  lucent  bowl  of 
shimmering  water. 

John  W.  Alexander  was  born  October  7,  1856,  in  Allegheny. 
He  studied  in  Munich,  Venice  and  Florence.  He  was  a  member 
of  many  art  societies  in  this  country,  England,  France,  Germany 
and  Austria,  and  had  won  many  honors  and  decorations.  There 
are  examples  of  his  work  in  the  Luxembourg,  Paiis,  the  Metro- 

26 


politan  Museum,  New  York,  and  galleries  elsewhere;  while  his 
work  as  a  mural  painter  is  in  the  Library  of  Congress,  Wash- 
ington; the  Capitol,  Harrisburg,  Pa.,  and  the  Carnegie  Institute, 
Pittsburgh. 

Another  Medal  of  Honor  picture  is  on  Wall  D.  It  is  No. 
3323,  by  Richard  E.  Miller,  a  comparatively  young  man,  born 
1875,  in  St.  Louis,  Mo.,  and  a  pupil  of  the  art  school  in  his  na- 
tive city  and  then  of  Constant  and  Laurens  in  Paris.  He  has 
won  many  high  honors  at  home  and  abroad,  and  is  represented 
in  the  Luxembourg  and  many  other  of  the  great  permanent  col- 
lections. 

A  third  Medal  of  Honor  was  granted  in  this  room  to  Lawton 
Parker,  three  of  whose  figure  pieces  hang  on  Wall  B  (Nos.  3296, 
3298  and  3300).  Parker  was  born  in  Michigan,  18G8,  and  was  a 
pupil  of  Gerome,  Laurens,  Besnard  and  Whistler  in  Paris,  and  of 
Chase  in  New  York.  He  has  won  many  high  awards  and  has 
painted  portraits  of  prominent  people. 

On  Wall  A  hangs  a  painting  by  C.  H.  Woodbury,  a  rainbow 
glittering  through  ocean  spray,  which  has  won  a  Gold  Medal. 
Woodbury  is  a  well-known  marine  painter,  born  in  Massachusetts, 
and  a  pupil  of  the  Massachusetts  Institute  of  Technology,  later 
studying  under  Boulanger  and  Lefebvre  in  Paris.  He  has  won 
many  previous  honors. 

There  are  two  winners  of  Silver  Medals  in  this  room;  one 
is  Marion  L.  Pooke,  whose  picture  (No.  3317)  is  on  Wall  D. 
The  other  is  Maurice  Del  Mue,  a  young  San  Franciscan  whose 
work  is  full  of  promise.  His  impressive  mountain  landscape 
(No.  3302)  hangs  on  Wall  B. 

There  are  two  members  of  the  jury  represented  in  this 
room.  John  W.  Beatty,  a  Pittsburg  artist,  and  a  pupil  of  the 
Munich  school,  has  a  group  of  landscapes  on  Wall  C.  Jules 
Pages,  a  San  Franciscan,  who  has  been  a  teacher  in  Paris  for  a 
number  of  years,  is  represented  by  a  large  picture,  "On  the 
Quais,"  on  Wall  B. 

Room  No.  70. 

This  room  is  devoted  to  portraiture. 

Irving  R.  Wiles,  a  winner  of  a  Gold  Medal,  is  shown  on  Wall 
C.  No.  3383  is  a  portrait  of  the  celebrated  opera  singer,  Mme. 
Gerville-Reache,  as  Carmen.  No.  3385  is  of  J.  Francis  Murphy, 
the  eminent  landscape  painter.  Irving  Wiles  is  a  New  Yorker 
who  studied  under  his  father,  L.  M.  Wiles,  and  William  M.  Chase, 
and  also  under  Carolus-Duran  in  Paris. 

Herman  G.  Herkomer,  an  American  artist  who  has  lived  most 
of  his  life  in  London,  has  three  portraits  on  this  wall.  One  (No. 
3363)   is  of  his  cousin,  Sir  Hubert  von  Herkomer,  R.  A. 

Robert  D.  Gauley,  a  winner  of  a  Silver  Medal,  has  two  can- 
vases (Nos.  3381  and  3367).  Gauley  is  a  native  of  Ireland  and 
studied  under  Benson  and  Tarbell  of  Boston  and  Bouguereau  and 
Ferrier  in  Paris. 

On  Wall  D  hangs  Julian  Story's  portrait  of  Mrs.  Story  and  one 
of  himself.  Another  interesting  number  on  Wall  D  is  Noel 
Flagg's  portrait  of  Paul  Bartlett,  the  sculptor. 

Room  No.  71. 

Two  paintings  by  J.  J.  Enneking,  the  winner  of  a  Gold  Medal, 
hangs  upon  Wall  A  (3401,  3402).    Although  now  associated  with 

37 


Boston,  Enneking  was  born  in  Ohio,  1841,  and  studied  under 
Bonnat  and  Daubigny  in  Paris,  and  Lehr  in  Munich. 

On  the  same  wall  hang  two  very  interesting  and  vivid  can- 
vases (Nos.  3404,  3412)  by  George  Luks,  one  of  the  younger 
New  Yorkers. 

Two  large  portraits  by  Eric  Pape,  an  artist  born  in  San 
Francisco,  are  on  Wall  B.  He  now  lives  in  Boston,  where  he 
is  director  of  a  school  of  art. 

Among  other  aitists  with  whom  we  have  become  acquaint'^d 
who  have  canvases  hanging  on  Wall  C,  is  a  winner  of  a  Silver 
Medal,  E.  Charlton  Fortune,  one  of  the  youngest  and  most 
promising  of  the  San  Francisco  painters.  Only  one  of  her  vivid 
and  personal  pictures  hangs  in  this  room;  others  being  placed 
elsewhere.  This  one  is  a  view  of  the  interior  of  the  Carmel 
Mission,  and  has  been  bought  by  William  M.  Chase. 

Room  No.  72. 

A  historical  painting  of  a  special  interest  to  westerners 
hangs  on  Wall  A,  Carlton  T.  Chapman's  "The  Annexation  of  Cal- 
ifornia," showing  the  raising  of  the  American  flag,  July  7,  1846, 
at  Monterey. 

Walter  McEwen,  one  of  the  jurymen,  has  a  group  of  four 
paintings  (Nos.  3510,  3513,  3514,  and  3519)  on  Wall  D.  He  is  one 
of  the  most  distinguished  of  American  artists  living  abroad, 
and  has  been  the  recipient  of  a  long  list  of  honors. 

Frank  Van  Sloun,  a  San  Fiancisco  artist,  a  winner  of  a  Bronze 
Medal,  has  a  striking  "Portrait  of  an  Actor"  on  Wall  C,  upon 
which  two  other  California  artists,  Gertrude  Partington  (3506) 
and  Maren  Froelich  (3507)  are  also  represented.  Miss  Parting- 
ton was  awarded  a  Bronze  Medal. 

Room  No.  73. 

A  special,  popular  interest  is  given  to  this  room  by  the  large 
number  of  paintings  of  the  Panama  Canal  by  Alson  Skinner 
Clark,  These  occupy  the  whole  of  Wall  A  and  nearly  all  the 
space  on  Walls  C  and  D.  Clark  is  a  Chicago  painter.  He  was 
born  in  that  city,  1876,  and  studied  under  many  masters,  among 
them  being  Whistler,  in  Paris,  and   Chase  in  New  York. 

There  are  two  very  interesting  painters  to  whom  Gold  Medals 
were  awarded  for  work  shown  here.  One  of  them  is  Ernest 
Lawson,  whose  landscapes  are  full  of  subtle,  artistic  strength  and 
beauty.  His  pictures  (Nos.  3538,  3539,  3548)  hang  on  Walls  B 
and  C.  Lawson  was  born  in  California  in  1873,  was  trained  in 
France,  and  for  many  years  has  lived  in  New  York. 

The  other  Gold  Medalist  is  Gifford  Beal,  also  a  New  York 
painter  of  the  younger  set.  A  group  of  his  paintings  (Nos. 
3540,  3541,  3542,  and  3546)   is  placed  on  Wall  B. 

Room  No.  74. 

C.  J.  Taylor,  a  member  of  the  jury,  whose  work  covers  Wall 
D,  is  the  dominating  factor  of  this  room.  A  well-known  New 
York  painter  and  teacher,  he  studied  under  Eastman  Johnson 
and  in  London  and  Paris.  He  is  prominent  as  an  illustrator 
as  well  as  in  painting. 

The  other  walls  are  devoted  to  a  number  of  younger  men, 
notable  among  whose  work  is  a  canvas  by  Bruce  Nelson  (No. 
3609),   who   is   one   of   the   youngest   of   western   artists   and   a 

38 


winner  of  a  Silver  Medal.    There  are  pictures  by  Nelson  in  other 
rooms  and  all  attract  decided  attention. 

Will  J.  Hyett,  winner  of  a  bronze  medal,  is  another  of  the 
younger  school  to  repay  attention.  His  "Cross  Roads:  Ravenrock," 
No.  3590,  is  on  Wall  A. 

Room   No.  49. 

This  is  one  of  the  most  interesting  of  the  American  galleries, 
containing  as  it  does  work  by  seveial  of  the  most  distinguished 
contemporary  artists.  There  are  two  members  of  the  jury  among 
them,  J.  Alden  Weir  and  John  McLure  Hamilton. 

Wall  A  is  devoted  to  a  splendid  group  of  pictures  by  D.  W. 
Tryon,  an  artist  in  whose  interpretations  of  the  beauty  of  nature 
as  it  is  manifested  in  New  England  landscapes  there  can  be  felt 
that  exquisite  quality  which  so  many  other  Americans,  many 
of  them  possessed  of  great  power,  entirely  lack,  namely,  an 
affinity  for  the  spiritual.  Dwight  William  Tryon  was  born  in 
Hartford,  Connecticut,  in  1849.  He  was  a  pupil  of  Daubigny 
and  Harpignies  in  Paris.  He  has  worn  many  notable  honors, 
and  his  works  are  in  most  of  the  great  public  collections  of  this 
country,  no  less  than  forty-three  being  in  the  Freer  Collection  in 
the  National  Gallery,  Washington,  D.  C. 

J.  Alden  Weir's  group  of  landscape  and  figure  paintingc 
are  on  Walls  B  and  D.  Born  in  the  state  of  New  York  in  18ri>, 
J.  Alden  Weir  was  first  the  pupil  of  his  father,  Robert  W.  Weir, 
and  later  of  Gerome  in  Paris.  He  was  one  of  the  first  members 
of  the  Society  of  American  Artists  which,  under  the  presidency 
of  John  La  Faige,  was  founded  in  1877  and  marked  the  definite 
establishment  of  the  modern  movement  in  this  country.  Practi- 
cally all  the  men  of  the  advance  guard  "in  that  progress  which 
has  put  American  painting  in  line  with  that  of  other  countries," 
says  Charles  H.  Caffin,  were  members  of  that  society.  Weir  be- 
came one  of  the  most  eminent  among  them.  His  work  is  rep- 
resented in  all  the  leading  collections. 

John  McLure  Hamilton's  notable  portiaits  of  his  mother, 
of  Gladstone,  and  of  Joseph  Pennell,  the  etcher,  are  on  Walls 
A  and  C.  His  large  group  of  pastel  drawings,  nearly  all  of  them 
being  of  the  same  \ivacious  girl,  occupy  Room  No.  39,  among 
the  other  rooms  devoted  to  drawings  and  prints. 

Hamilton  is  a  Philadelphian,  born  1853,  who  has  lived  in 
England  since  1878.  His  portraits  of  distinguished  Englishmen, 
such  as  Cardinal  Manning,  Professor  Tyndall  and  Glad'itone, 
hang  in  the  Luxembourg,  Paris,  the  National  Gallery,  London, 
and  the  Pennsylvania  Academy,  Philadelphia, 

Room   No.  48. 

The  distinguishing  feature  of  this  room  is  a  picture  by  F. 
C.  Frieseke  (No.  2378),  the  winner  of  the  Grand  Prize  in  the 
American  section.  Inasmuch,  however,  as  all  his  other  pictures 
hang  together  in  Room  117,  we  will  speak  further  of  this  iirtist 
in  the  chapter  devoted  to  that  room. 

The  work  of  a  portrait  painter  to  whom  was  awarded  a  Gold 
Medal,  G,  P.  Troccoli,  is  shown  in  this  room  (2350,  2354,  2-369,  and 
2373),  Troccoli  is  a  Massachusetts  painter  who  had  not  previously 
won  high  honors. 


39 


Room   No.  47. 

Colin  Campbell  Cooper,  a  winner  of  a  Gold  Medal,  has  two 
of  his  well-known  paintings  of  aspects  of  New  York  City  hanging 
on  Wall  D.  Born  in  Philadelphia  1856,  Cooper  was  trained  at 
the  Pennsylvania  Academy  of  the  Fine  Arts  and  the  Julian  Studio 
in  Paris.    He  has  specialized  in  street  scenes. 

Two  members  of  the  jury,  both  of  them  Californian  artists, 
are  represented  in  this  room.  C.  J.  Dickman,  who  received 
his  training  in  Paris  and  is  one  of  the  leading  artists  of  the 
Pacific  slope,  shows  his  "Picardy  Fisher  Folk"  on  Wall  D. 

Eugen  Neuhaus  exhibits  on  Wall  B  a  group  of  his  landscapes, 
done  in  tempora,  this  artist  being  one  of  a  few  who  are  today 
reviving  the  use  of  this  primitive  medium. 

The  art  of  the  northwest  is  represented  by  Paul  Morgan 
Gustin,  of  Seattle,  Washington,  and  Ray  S.  Boynton  of  Portland. 
Oregon.  Gustin's  work  is  on  Wall  C  (Nos.  2336,  2337  and  2339). 
Boynton's  work  is  also  on  Wall  C  (Nos.  2330,  2331). 

Room   No.  46. 

Six  pictures  by  Frank  V.  Dumond,  a  member  of  the  jury 
and  one  of  the  mural  painters  of  the  Exposition,  his  work  deco- 
rating the  Arch  of  the  Setting  Sun  in  the  Court  of  the  Uni- 
verse, are  in  this  room,  four  on  Wall  B,  two  on  Wall  C.  He 
is  a  New  York  painter  and  an  instructor  in  the  Art  Students 
League.  Born  in  1865  at  Rochester,  N.  Y.,  he  studied  under 
Boulanger  and  Constant  in  Paris. 

Upon  Wall  A  hangs  a  group  of  brilliant  flower  pieces  by 
Ruger  Donoho,  winner  of  a  Gold  Medal.  Donoho  is  a  native  of 
Mississippi,  born  1857,  educated  in  New  York  and  Paris. 

On  the  same  wall  hangs  a  picture  by  Beatrice  Whitney,  a 
figure  painting   (No.  2271),  which  was  awarded  a  Silver  Medal. 

In  Eugene  Higgins'  "The  Strange  Land"  on  the  same  wall 
is  expressed  one  of  the  rare  efforts  which  American  painters  make 
to  render  the  pathos  of  our  modern  industrial  conditions. 

Room   No.  45. 

Work  of  first-class  importance  demands  interested  notice  here. 
The  exceptionally  rich  quality  of  color  of  the  group  of  paintings  on 
Wall  C  draws  attention  irresistibly  to  the  work  of  Walter  Griffin, 
the  winner  of  a  Medal  of  Honor.  They  are  principally  viev*s 
of  Venice,  and  are  full  of  individual  force  and  original  quality. 
Griffin  is  a  native  of  Maine  and  studied  under  Collin  and  Laurens 
in  Paris.  His  present  work  is  the  culmination  of  a  remarkable 
and  dramatic  rise  into  artistic  fame. 

There  are  several  winners  of  Gold  Medals. 

Among  them  is  Robert  Reid,  whose  mural  paintings  decorate 
the  lofty  dome  of  the  Palace  of  Art.  Two  of  his  easel  pictures 
(Nos.  2206,  2211)  hang  on  Wall  A.  A  Massachusetts  man,  Reid 
received  his  early  training  in  Boston  and  New  York,  and  later 
in  Paris.  He  has  been  a  recipient  of  many  honors,  and  is  one 
of  the  most  distinguished  mural  painters  in  this  country. 

P.  Luis  Mora  is  also  represented  on  Wall  A  (No.  2212).  Other 
canvases  by  him  hang  elsewhere.  Mora  is  a  native  of  Uruguay 
and  studied  under  Benson  and  Tarbell  in  Boston.  The  award  of 
a  Gold  Medal  is  the  last  of  a  long  series  of  honors. 

Robert  Vonnoh,  also  a  Gold  Medalist,  has  upon  Wall  B  a  por- 
trait of  Daniel  Chester  French,  the  sculptor.    He  has  other  pic- 

40 


tures  elsewhere.  Vonnoh  was  born  in  Hartford,  Connecticut. 
He  received  his  early  training  in  the  art  schools  of  Boston  and 
later  in  the  Julian  Academy  in  Paris.  He  has  done  much  dis- 
tinguished  work,   especially   in    portraiture. 

Still  another  Gold  Medalist,  E.  F,  Rook,  has  a  still  life  picture 
on  Wall  D  (No.  2245).  He  is  a  prominent  member  of  the  "Old 
Lyme  Group  '  of  landscape  painters,  so-called  because  Old  Lyme, 
in  Connecticut,  is  the  center  for  their  work, 

Charles  Morris  Young,  of  Pennsylvania,  has  been  awarded  a 
Gold  Medal.  A  group  of  his  landscapes,  in  which  Winter  scenes 
predominate,  hangs  on  Wall  B.  On  this  wall  is  an  interesting 
canvas  by  Jonas  Lie,  a  winner  of  a  Silver  Medal.  Lie  was  born 
in  Norway,  in  1880.  Trained  in  the  schools  of  this  country,  he 
has  made  for  himself  a  notable  position  among  the  younger 
men. 

There  are  four  paintings  by  Birge  Harrison  on  Wall  D.  Born 
in  Philadelphia,  in  1854,  he  received  his  training  under  Cabanel 
in  Paris,  and  has  had  a  long  and  distinguished  career  both  as 
painter  and  teacher. 

Room  No.  44. 

Among  the  items  of  interest  in  this  room  the  group  of 
works  by  L.  H.  Meakin,  a  veteran  painter  and  member  of  the 
jury,  hanging  on  Wall  C,  is  prominent.  Born  in  England,  but 
coming  early  to  this  country,  Meakin  studied  in  Munich,  in  Paris, 
and  as  an  instructor  in  the  Cincinnati  Art  Academy  he  has  had 
much  constructive  influence  in  the  development  of  art  in  the 
Middle  West. 

Two  Californians  who  won  Silver  Medals  are  represented  here. 
One  is  Edward  Cucuel,  a  San  Franciscan,  who  lives  abroad  and 
was  trained  under  Laurens  and  Gerome  in  Paris.  His  paintings 
(Nos.  2195  and  2199)  are  on  Wall  D.  Guy  Rose,  a  Los  Angeles 
artist  who  lives  in  France,  has  a  picture  hanging  on  Wall  D  (No. 
2202). 

Room  No.  43. 

Apart  from  the  presence  of  the  work  of  one  of  the  jurymen, 
the  main  interest  of  this  room  is  in  the  work  of  a  number  of 
young  Californians. 

Edward  H.  Wuerpel,  whose  landscapes  hang  on  Wall  D.  is 
the  juryman  in  question.  Wuerpel  is  a  Missouri  artist,  a  painter 
and  teacher  of  St.  Louis,  where  he  was  born  in  1866  and  where 
he  received  his  early  training.  His  later  studies  were  in  Paris 
under  Bouguereau,  Robert-Fleury,  and  others. 

Among  the  Californians,  Maynard  Dixon,  whose  paintings 
(Nos.  2112  and  2101)  are  on  Wall  A,  is  prominent.  Dixon  is  a  San 
Franciscan  who  seeks  to  interpret  not  only  the  visual  but  the 
spiritual  quality  of  the  Western  deserts  and  mountains.  He  is 
the  winner  of  a  Bronze  Medal. 

Lee  F.  Randolph,  winner  of  an  Honorable  Mention,  who  has 
two  pictures  (Nos.  2117  and  2118)  on  Wall  B,  is  a  young  man, 
trained  in  France,  who  has  settled  in  California,  and  of  whom 
much  is  expected. 

On  Wall  C  hangs  a  portrait  (No.  2131)  by  Clarence  R.  Hinkle, 
another  San  Franciscan,  who  shows  strong  promise. 

On  the  same  wall  is  a  picture  by  still  another  San  Franciscan, 
Perham  Nahl  (No.  2144),  to  which  a  Bronze  Medal  has  been 
awarded.    Perham  Nahl  is  the  creator  of  the  powerful  and  poeti- 

41 


cal  design  which  the  Exposition  has  employed  so  extensively  as 
a  poster  and  which  has  won  much  artistic  admiration — the  sym- 
bolic design  of  Man  cleaving  a  pathway  through  the  Isthmus  of 
Panama  and  uniting  two  oceans. 

Rinaldo  Cuneo,  a  San  Franciscan  who  works  abroad,  has  a 
notable  painting  of  Notre  Dame  in  Paris,  on  Wall  D. 

Room  No.  117. 

THE    GRAND    PRIZE 

Frederic  Carl  Frieseke  is,  of  course,  the  commanding  in- 
terest of  this  room,  which,  however, .  contains  many  attractive 
works. 

Frieseke  is  the  winner  of  the  Grand  Prize.  There  are  six  of 
his  pictures  exhibited  here,  on  Walls  A,  B  and  D.  This  is 
the  work  which  according  to  the  judgment  of  a  majority  of  the 
aitists  who  constituted  the  jury  deserved  the  highest  honor. 
Frieseke  has  been  termed  "a  painter's  painter."  Born  in  Michi- 
gan in  1874,  his  early  training  was  received  as  a  pupil  of  the 
Art  Students  League  of  New  York,  and  under  Constant,  Laurens 
and  Whistler  in  Paris,  where  he  usually  works.  His  career  has 
been  brilliantly  successful  and  the  honor  now  given  him  comes 
as  a  culmination  of  a  long  series  of  official  awards.  The  Lux- 
embourg Museum,  Paris,  and  the  Metropolitan  Museum,  New 
York,  contain  examples  of  his  work.  It  is  as  a  painter  of  light 
— especially  the  subtleties  and  problems  of  light  as  it  plays  on 
open  air  subjects,  that  Frieseke  has  won  his  high  place  in 
modern  art. 

The  following  interesting  comment  was  made  by  the  New 
York  Times: 

"The  Grand  Prize  at  the  Panama-Pacific  Exposition  goes  to 
Mr.  Frieseke,  whose  accomplished  work  is  well  known  to  New 
Yorkers  and  who  says  the  last  word  in  the  style  that  was  mod- 
ern before  the  Modernists  came  along.  He  is  not  by  any  means 
new  to  honors.  The  Luxembourg  owns  a  picture  by  him  of  a  nude 
woman  standing  before  a  mirror,  superbly  modeled.  He  is  repre- 
sented in  the  Museums  of  Vienna  and  Odessa,  and  has  received 
medals  from  Munich  and  St.  Louis,  and  also  took  the  Corcoran 
Prize  at  Washington  in  1908,  the  year  in  which  he  was  elected 
Societaire  of  the  Societe  National  des  Beaux-Arts,  Paris.  He 
has  painted  mural  decorations  for  an  Atlantic  City  hotel  and  for 
the  Amphitheatre  of  Music  in  New  York.  Whatever  he  does  has 
qualities  of  design,  color  and  style.  A  sense  of  gayety,  an 
entertaining  and  well  considered  pattern,  a  remarkable  knowl- 
edge of  the  effect  of  outdoor  light  on  color  are  found  in  nearly 
all  his  recent  paintings.  This  year,  like  many  another  American 
artist,  he  has  been  working  in  the  Paris  hospitals,  putting  aside 
his  art  for  the  acute  duties  of  life  that  press  suddenly  upon 
those  who  live  in  France." 

A  very  interesting  picture  which  won  a  Gold  Medal  bangs 
on  Wall  C.  It  is  by  H.  O.  Tanner,  and  it  represents  "Christ 
at  the  Home  of  Lazarus."  Tanner,  whose  chief  attraction  in  art  is 
religious  subjects,  and  who  has  won  a  high  place  for  his  work  in 
modern  American  art.  Born  in  Pennsylvania  in  1859,  a  son  of 
Bishop  Tanner,  of  the  Afro- American  church,  he  studied  under 
Thomas  Eakins,  and  later  under  Laurens  and  Constant  in  Paris, 
where  he  now  resides.  The  Luxembourg  Museum,  Paris,  possesses 
one  of  his  works. 

42 


Room  No.  118. 

Max  Bohm,  a  Gold  Medal  winner,  is  represented  on  Wall  A 
by  a  large  canvas  showing  a  group  of  figures  on  the  seashore. 
There  is  also  an  interesting  marine  by  Alexander  Harrison  on 
this  wall.  On  Wall  B  there  is  a  picture  by  one  of  the  youngest 
of  California  artists,  "Baby's  Toilet,"  by  Henry  Varnum  Poor, 
which  is  full  of  genuine  strength,  simply  expressed. 

Still  another  Gold  Winner  is  on  Wall  C,  W.  D.  Hamilton,  a 
Spring  landscape,  subtle  and  poetical. 

On  Wall  D  hangs  a  landscape  by  H.  J.  Breuer,  whose  work  we 
have  met  in  other  rooms. 

Room  No.  120. 

George  Bellows  is  the  outstanding  name  in  this  room,  which 
contains  also  the  work  of  several  men  of  the  younger  and  more 
modern  tendencies.  Bellows  is  the  winner  of  a  Gold  Medal.  His 
work  hangs  together  on  Wall  C  with  the  exception  of  one  canvas, 
a  scene  in  a  New  York  excavation,  which  hangs  on  Wall  D.  Bel- 
lows is  one  of  the  most  interesting  of  the  younger  men.  Sturd- 
ily, almost  stubbornly  independent,  he  has  always  refused  to 
yield  to  commercial  reasons,  on  to  compromise  with  his  own 
experimental  nature.  Born  in  Ohio  in  1882,  a  puj'il  of  Henri 
in  New  York,  his  training  and  his  interests  are  thoroughly 
American.  For  some  years  he  supported  himself  dining  the 
summers  by  playing  base  ball  professionally,  doing  his  painting 
in  the  winter — a  fact  which  explains  why  so  many  of  his  can- 
vases are  studies  of  winter  scenes. 

Three  other  Gold  Medal  winners  not  previously  mentioned 
are  represented  in  this  room.  One  is  W.  D.  Hamiton,  on  Wall 
A  (No.  4407);  the  other  is  Myron  Barlow,  who  is  represented 
on  Wall  C  (Nos.  4427,  4431  and  4435);  and  the  third  is  Waldo 
Murray,  a  pupil  of  Sargent  and  a  portrait  painter  of  increasing 
prestige  (No.  4429). 

One  Wall  A  the  pictures  by  Samuel  Halpert  and  Rockwell  Kent 
are  typical  examples  of  two  divergent  tendencies  in  the  most  mod- 
ern movements.  Halpert  (No.  4493)  represents  the  new  school  of 
synthetic  realism.  The  Kent — the  strange  picture  showing  a  group 
of  figures  in  a  most  singular  landscape  belongs  to  the  imaginative 
school. 

Water   Colors   and    Illustrations. 

Rooms  Nos.  26,  36,  37,  40,  41,  42  and  119  are  devoted  to 
water  colors,  drawings  in  various  mediums,  and  illustrations. 

The  works  of  Howard  Pyle  occupy  Rooms  40  and  41,  but  these 
are  dealt  with  in  the  chapter  concerned  with  the  rooms  of  indi- 
vidual artists. 

Medals  of  Honor  weie  awarded  in  this  group  to  the  follow- 
ing artists:  Charles  H.  Woodbury,  Lillian  Westcott  Hale,  F. 
Walter  Taylor.  Henry  Muhrmann,  Frank  Mura  and  Laura  Coomos 
Hills. 

Gold  Medals  were  awarded  to  Charles  E.  Heil,  Alice  Schille, 
George  Hallowell,  F.  Luis  Mora,  Henry  B.  Snell,  Jules  Guerin, 
N.  C.  Wyeth,  Henry  McCarter  and  Arthur  I.  Kellar. 

Room   No.  26. 

In  this  room  there  is  a  group  of  F.  Walter  Taylor's  Medal  of 
Honor  work  on  Wall  A.    Taylor  is  a  Philadelphia  artist,  who  has 

43 


illustrated  many  books,  among  them  works  by  Henry  Van  Dyck, 
Mrs.  Humphrey  Ward,  and  Margaret  Deland. 

Two  popular  magazine  illustiators,  both  of  whom  have  won 
Silver  Medals,  Jessie  Willcox  Smith  and  Elizabeth  Shippen  Green, 
are  also  on  this  wall. 

Two  winners  of  Gold  Medals,  N.  C.  Wyeth  and  Henry  Mc- 
Carter,  are  on  Walls  C  and  D  respectively. 
Room   No.  36. 

Charles  E.  Heil  is  the  central  interest  of  Wall  A,  his  Gold 
Medal  work  being  placed  there.  Everett  Shinn,  a  vigorous  and 
brilliant  artist,  has  a  very  interesting  and  varied  group  near  by. 

Lucia  K.  Mathews,  a  California  artist,  winner  of  a  Silver 
Medal,  is  on  Wall  B,  together  with  C.  J.  Taylor  and  Mateo  San- 
dona,  members  of  the  jury. 

On  Wall  C  a  very  original  note  is  struck  by  the  paintings  on 
silk,  in  the  ultra  modern  mode,  by  Marguerite  Zorach.  E.  Spencer 
Mackey  and  Charles  F.  Heil  complete  the  interest. 

Room  No.  37. 

Charles  H.  Woodbuiy,  another  Medal  of  Honor  artist  (whose 
work  in  oil  also  won  a  Gold  Medal),  is  represented  on  Wall  A. 

Anna  B.  W.  Kindlund,  a  winner  of  a  Silver  Medal,  is  on  the 
same  wall. 

On  Wall  B  are  two  other  Silver  Medalists,  H.  D.  Murphy  and 
George  Alfred  Williams.  George  Walter  Dawson,  of  the  jury,  oc- 
cupies Wall  C.  There  are  also  a  large  number  of  miniatiires 
in  cases  in  this  room  and  in  Room  40. 

Room   No.  40. 

In  this  room,  on  Wall  B,  is  a  group  by  Lillian  Westcott  Ha^.e, 
winner  of  Medal  of  Honor.  George  H.  Hallowell,  Gold  Medalist, 
is  also  represented  here,  together  with  Alexander  Robinson, 
the  latter  showing  a  brilliant  group  of  oriental  subjects. 

The  work  of  Jules  Guerin,  Chief  of  Color  in  the  Division  of 
Works  of  the  Exposition,  is  on  Wall  D. 

Room  No.  119. 
Henry  Muhrmann's  Medal  of  Honor  work  is  found  in  this 
room,  a  remarkable  group  in  black  and  white  drawings  on  Wall 
A.  Many  of  Charles  W.  Woodbury's  Panama  Canal  drawings 
are  also  here,  on  Wall  D.  Woodbury  shares  the  distinction  of 
the  Medal  of  Honor  class.  On  Wall  B  hang  two  impressive 
charcoal  studies  by  Xavier  Martinez. 

CHAPTER  VII. 
The   Individual   Rooms. 

To  a  large  number  of  Ameiican  artists  of  the  first  rank,  whose 
work  belongs  to  modernity,  the  honor  of  separate  galleries  was 
given.    The  list  is  as  follows: 

James  McNeill  Whistler,  Room  28,  paintings;  Room  29, 
etchings. 

John  H.  Twachtman,  Room  93. 

Edmund  C.  Tarbell.  Room  89. 

William  Keith,  Room  90. 

Edward  W.  Redfield,  Room  88. 

Frank  Duveneck,  Room  87. 

William  M.  Chase,  Room  79. 

44 


Childe  Hassam,  Room  78. 

Gari  Melchers,  Room  77. 

John  S.   Sargent,  Room  75. 

Arthur  F.  Mathews  and  Francis  McComas,  Room  76. 

John  McClure  Hamilton,  Room  39. 

Joseph  Pennell,  Room  31. 

Howard  Pyle,  Rooms  41  and  42. 

James  McNeill  Whistler. 

Two  separate  looms  are  devoted  to  Whistler's  works;  one. 
No.  28,  to  his  paintings,  and  the  other,  No.  29,  immediately  ad- 
joining, to  his  etchings  and  lithographs. 

His  is  the  greatest  name  contributed  by  the  United  States 
to  the  art  of  the  world,  and  his  influence  has  been  of  the  most 
profound  and  positive  kind.  The  pictures  shown  in  this  room 
cover  practically  his  whole  career,  from  an  example  of  his 
earlier  period  when  he  was  strongly  influenced  by  the  realism 
of  Gustave  Cou^  bet,  on  through  the  exquisite  nocturnes,  and 
the  marvelous  portraits,  to  the  almost  transcendental  loveliness 
of  the  series  of  color  studies  which  belong  to  the  Whistler  who, 
passing  from  perfection  achieved,  experimented  in  regions  where 
pictorial  art  seems  to  enter  upon  a  mystical  marriage  with  the 
secrets  of  music. 

There  are  seveial  very  famous  pictures  here.  One  of  them 
is  incidentally  notorious  as  the  picture  which  Ruskin  said  was 
the  result  of  Whistler  throwing  a  paint  pot  in  the  face  of  the 
public — for  saying  which  the  irate  critic  was  sued  by  his  even 
more  irate  subject,  who  won  the  verdict,  and  a  penny  for  dama- 
ges.    This  is  the  nocturne.  "The  Falling  Rocket." 

In  the  adjoining  room  the  etchings  and  lithogranhs  open  other 
vistas  into  the  magical  region  where  quintessential  good  taste 
and  a  psychic  perceptiveness  to  the  finer  forces  of  beauty,  are 
mingled  in  the  alembic  of  Whistler's  art.  Far  indeed  did  he 
travel  from  the  preoccupation  with  material  reality  which  was 
the  formula  of  Courbet.  He  found  himself  more  and  more 
intent  upon  suggesting  the  essential  inner  spirit  which  vivifies 
all  outward  manifestation.  Almost  as  clairvoyantly  as  in  the 
case  of  the  pictures  do  the  etchings  relate  the  story  of  this  ma- 
gician of  line  and  color,  wbo^e  wo^k  is  the  greatest  evocation 
of  sniritual  beauty  which  modern  painting  has  known. 

Whistler  was  born  at  Lowell,  Massachusetts,  in  1834.  His  father 
was  an  eminent  engineer  at  one  time  in  the  service  of  Emperor 
Nicholas  of  Russia,  and  as  a  child  the  artist  lived  much  abroad.  He 
was  educated  in  the  United  States  and  as  a  young  man  was  en- 
tered at  West  Point  as  a  cadet.  His  stay  was  short  and  his 
next  move  was  to  Paris  where  he  became  the  pupil  of  Gleyre, 
in  whose  studio  he  associated  with  the  painters  Fantin-Latour 
and  Degas,  and  the  etchers  Bracquemond  and  Legros.  But  aca- 
demical training  did  not  last  long.  Whistler  was  an  original 
genius  and  roamed  the  world  absorbing  the  influences  that  were 
congenial  and  rejecting  all  else.  Around  his  work  there  raged 
the  bitter  controversies  that  always  accompany  the  disturbing 
passage  of  a  creator  of  new  values  through  the  art  of  his  day; 
but  even  before  h's  death,  which  occurred  in  1903,  he  had  won 
the  only  victory  that  he  cared  much  about,  namely,  the  admira- 
tion of  those  capable  of  understanding  his  aristocratic  and  dis- 
tinguished work. 

46 


John    H.   Twachtman. 

Room  No.  93  is  devoted  to  the  works  of  this  great  artist. 
It  may  yet  be  recognized  that  in  Twachtman  modern,  native 
American  art  has  leached  the  highest  point  it  has  yet  developed. 
Whistler  and  Sargent  are  cosmopolites.  Twachtman  lived  year 
in  and  year  out  upon  a  farm  in  the  hills  of  Connecticut,  and 
with  a  soul  in  vibrant  accord  with  the  spirit  of  nature  as  it 
manifests  itself  amid  New  England  fields  and  woods  and  hills, 
he  created  masterpieces  of  artistic  beauty  which  stem  from 
American  soil. 

It  was  not  the  facts,  nor  even  the  glorified  garments,  of  na- 
ture which  attracted  this  artist.  He  sought  to  interpret  the 
finer  forces  of  nature,  the  subtle  soul  of  it,  that  inner  life  which 
the  painters  of  olden  times,  the  days  of  faith,  felt  as  sacramental 
and  which  most  modern  artists  either  ignore  or  fail  to  realize.  It 
was  particularly  the  austere  yet  splendid  and  crystalline  syn- 
thesis of  winter  which  Twachtman  reacted  to. 

It  is  not  the  cold,  the  duskiness,  the  dread,  the  torpor  of  the 
brumal  season  which  his  pictures  render;  nor  the  brilliant 
sparkle  and  crisp,  metallic  surfaces  which  more  materialistic 
painters  delight  to  show  us.  The  light  which  bathes  with  such 
tender,  veiled  radiance  these  winter  harmonies  (which  some 
American  Debussy  should  set  to  music)  seems  to  emanate  from 
within.  Technically,  Twachtman  was  a  modern  of  the  moderns, 
and  he  was  a  leader  in  that  development  of  painting  which  seeks 
its  motive  in  the  abstract. 

John  H.  Twachtman  was  born  in  Cincinnati  in  1853.  He  began 
his  art  studies  in  the  School  of  Design  in  that  city,  where  for 
two  years  he  studied  under  Frank  Duveneck.  Then  followed  some 
years  of  study  in  Munich.  Returning  to  America,  he  lived  a  re- 
tired life  devoted  to  an  art  which  necessaiily  could  never  be 
widely  popular.     He  died  in  1902. 

Edmund  C.  Tarbell. 

Room  No.  89  contains  the  pictures  of  this  popular  and  cele- 
brated Boston  artist,  who  is  one  of  the  jury  at  this  Exposition. 

In  Ihe  paintings  for  which  Tarbell  is  most  admired  modern 
genre  is  exhibited  on  its  highest  aitistic  level.  As  Charles 
H.  Caffin  admirably  characterized  Tarbell's  work,  "It  is  the 
character  of  the  scene  as  a  whole  that  he  represents,  the  sum 
total  of  the  impression  recorded  by  the  eye.  Further,  the  parts 
are  seen  in  their  variety  of  relations  to  one  another  and  the 
ensemble,  everything  also  in  its  proper  'milieu'  of  lighted  atmos- 
pheres and  with  reference  to  the  latter's  diverse  effects  on  form, 
color,   and   texture." 

Born  in  Massachusetts  in  1862,  Tarbell  received  his  early 
training  at  the  Boston  Museum  of  Fine  Aits,  and  later  in  Paris 
under  Boulanger  and  Lefebvre.  The  list  of  his  awards  and 
honors  is  a  very  long  one,  and  a  number  of  the  permanent  col- 
lections of  the  country  contain  examples  of  his  work.  One  of 
the  pictures  in  this  room,  the  "Girl  Crocheting,"  has  been  de- 
clared by  some  critics  to  be  one  of  the  best  painted  canvases 
in  American  art,  and  destined  to  become  famous  as  the  culminat- 
ing point  of  its  particular  school  of  realism,  which  stems  from 
Jan  Vermeer  and  the  "Little  Dutchmen";  but  with  the  lesson  of 
modern  light  added  to  the  message  of  the  bygone  masters  of 
Holland. 

46 


William    Keith. 

Room  No.  90  is  devoted  to  the  landscapes  of  William  Keith,  by 
far  the  most  important  painter  of  the  Pacific  Coast. 

Born  in  Aberdeenshire,  Scotland,  in  1839,  Keith  came  to  New 
York  in  1850.  As  a  youth  he  learned  the  art  of  wood  engraving 
— as  did  so  many  other  early  American  artists — and  practiced  it 
until  1859  in  the  service  of  Harper  Brothers.  In  that  year  he 
came  to  California.  For  some  years  he  continued  to  work  at 
his  trade.  But  the  gradual  introduction  of  process  work  nar- 
rowed his  field,  and  in  his  more  abundant  leisure  he  began  to 
sketch  from  nature.  Artists  were  few  in  California  in  those  days, 
and  when  a  rail  oad  looked  about  for  an  artist  to  paint  some 
of  the  characteristic  scenery  along  its  lines,  Keith  secured  the 
work  although  he  had  never  before  painted  any  pictures  in  oils, 
in  which  medium  the  work  was  to  be  done.  However,  Keith  con- 
fidently set  to  work;  he  satisfied  his  employers  and  was  enabled 
to  open  a  studio  in  San  Francisco.  Those  were  boom  days  in 
the  Golden  State;  hundreds  of  prosperous  home-makers  requi.ed 
pictures  and  were  not  critical  as  to  their  artistic  merits.  For 
a  year  or  more  Keith  turned  out  many  paintings,  crude  work, 
indeed,  compared  with  his  later  manner,  but  it  sufficed. 

The  proceeds  of  the  auction  sale  he  held  at  the  end  of  the 
year  in  San  Francisco — in  which  city  art  has  depended  in  large 
measure  on  the  auctioneer — enabled  him  to  go  to  Munich.  He 
spent  two  years  abroad  with  great  benefit  to  his  technical  equip- 
ment. At  a  later  period  he  made  another  visit  to  Europe,  es- 
pecially studying  the  works  of  Velasquez  and  Hals.  But  it  is 
probable  that  critical  judgment  will  give  to  the  Barbizon  School 
and  especially  to  George  Inness,  its  American  disciple,  the  great- 
est share  in  the  formation  of  William  Keith's  best-known  and 
highest  style.  Inness  visited  Keith  in  1890  and  spent  several 
months  working  with  him  in  studio  and  field.  There  are  striking 
similarities,  not  only  in  their  pictures,  but  in  other  respects,  be- 
tween these  two  artists. 

Both  were  Scotchmen,  both  were  wood  engravers  before  be- 
coming painters,  and  both  tried  to  express  the  living  spirit  of 
nature  as  felt  by  their  temperaments,  which  were  alike  in  many 
ways,  especially  in  the  strain  of  Swedenborgian  mysticism  which 
influenced  them. 

In  the  long  and  fertile  period  of  his  best  manner,  Keith 
roamed  north  and  south  along  the  Pacific  Coast,  painting  his 
impressions  of  its  wonderful  beauty.  In  the  great  fire  of  1906  a 
very  large  number  of  canvases  in  his  studio  were  burned.  With 
splendid  courage,  despite  his  advanced  years,  and  much  helped 
by  his  daughter,  he  at  once  set  to  work  again  and  painted  many 
pictures  before  his  death  in  1911.  Of  late  years  his  fame  has 
rapidly  increased. 

Edward  W.  Redfleld. 

The  Redfield  pictures  hang  in  Room  88, 

Edward  W.  Redfield  is  a  member  of  the  jury,  and  the  honor 
of  an  individual  room  has  come  as  the  culminating  point  of  a 
highly  successful  career  that  is  now  in  its  prime.  Redfield 
has  lived  for  many  years,  since  his  return  from  Paris,  near 
the  Delaware  River  in  Pennsylvania,  and  most  of  his  work  deals 
with  varied  aspects  of  this  country  in  summer  and  in  winter. 

47 


though  of  late  he  has  turned  to  New  York  City  scenes,  es- 
pecially nocturnes. 

Essentially  an  Impressionist  whose  works,  while  always  con- 
veying a  strong,  sometimes  insistent  note  of  reality,  are  never- 
theless personal  interpretations  rather  than  pictorial  reporting, 
Redfield  is  a  proof  also  of  how  well  American  painting  has  mas- 
tered the  lessons  taught  by  France. 

Born  in  1868  in  Delaware,  Redfield's  eaily  training  was  at 
the  Pennsylvania  Academy  of  the  Fine  Arts  and  then  under  Bou- 
guereau  and  Fleury  in  Paris.  It  would  take  a  page  or  two  of 
this  guide  to  catalogue  all  the  honors  he  has  won  and  the  perma- 
nent collections  where  his  pictures  hang. 

Frank  Duveneck. 

Room  No.  87.  Here  are  assembled  the  pictures  of  a  man  in 
honor  of  whose  work  and  great  influence  as  a  teacher  a  special 
Commerative  Medal  will  be  cast  by  the  Exposition.  No  one  man, 
perhaps,  has  exerted  a  more  profound  and  salutary  effect  upon  the 
development  of  modern  American  painting.  The  present  exhibi- 
tion crowns  a  long  and  honorable  career  with  a  touch  of  glory. 

In  a  previous  chapter,  the  one  dealing  with  Room  64,  we  have 
related  briefly  that  episode  in  the  story  of  American  painting 
which  treats  of  the  decadence  of  the  Dusseldoif  school  and  the 
rise  and  ascendancy,  for  a  time,  of  the  Munich  school.  It  was 
Duveneck  and  Chase  who  brought  the  fertile  Munich  ideas  to 
America.  Duveneck  taught  for  ten  years  at  Munich  itself,  and 
for  many  years  has  continued  his  instructions  at  Cincinnati. 

Although  Munich  did  not  reveal  to  the  modern  world  its 
most  vital  idea,  that  of  the  treatment  of  light,  which  ideas  we 
owe  to  France,  it  exerted  a  great  technical  influence  and  brought 
modem  painters  into  contact  with  the  spirit  of  great  masters 
of  the  past,  such  as  Velasquez  and  Hals.  Duveneck  was  the 
first  of  American  instructors,  writes  Caffin,  to  make  brush  work 
instead  of  crayon-drawing  the  foundation  of  the  picture,  and  to 
impart  a  painter's  rather  than  a  draughtsman's  point  of  view. 
He  taught  his  students  to  work  directly  with  the  brush,  boldly 
blocking  in  large  masses  of  his  subject,  and  bioke  them  of  the 
old  habit  of  painting  over  elaborate  drawings,  a  method  which 
crippled  creative  impulse. 

Duveneck  was  born  in  Covington,  Kentucky,  in  1848.  The 
portrait  of  him  which  hangs  on  Wall  D  was  painted  by  Joseph 
DeCamp,  one  of  his  pupils  and  himself  a  distinguished  artist. 

William   M.  Chase 

The  works  of  this  American  master  are  gathered  in  Room 
No.  79.  Associated  with  Duveneck  as  one  of  the  great  influences 
of  modern  American  art,  Chase  is  even  better  known  as  a 
painter  than  as  a  teacher,  although  his  activity  in  the  latter 
field  has  been  great  and  far-reaching.  He,  like  Duveneck,  studied 
at  Munich  in  the  great  days  of  Piloty,  Wagner  and  Diez,  but 
Chase  appears  to  have  been  less  rigidly  formed  by  the  Munich 
manner  than  Duveneck,  and  learned  miich  from  such  French 
sources  as  Caiolus-Duran.  He  has  taken  a  leading  part  in  most 
of  the  artistic  movements  of  the  last  thirty  years,  with  a  verve 
and  a  continual  response  to  all  new  aspirations  which  have  kept 
him  a  vital  force.  Portraits,  landscapes,  genre  subjects  and  still 
life  have  occupied  his  versatile  powers.     Primarily  a  painter,  in 

48 


the  sense  that  technical  proficiency  is  his  dominant  character- 
istic, Chase  can  paint  a  dish  of  fish  with  as  much  distinction 
as  Huysmans,  that  master  of  prose  style,  could  write  of  them. 
Some  of  his  portraits  are  notable  achievements  of  insight  and 
feeling,  especially  the  well-known  "Lady  with  the  White  Shawl." 
William  M.  Chase  was  born  in  Franklin,  Indiana,  in  1849,  and 
his  early  studies  were  conducted  under  J.  O.  Eaton  in  New  York. 
All  the  great  permanent  collections  in  this  country  contain  ex- 
amples of  his  work. 

Childe   Hassam 

Room  No.  78  is  given  over  to  the  work  of  this  foremost  of 
Ameiican  Impressionists. 

One  of  the  first  of  the  painters  of  this  country  to  fall  under 
the  influence  of  the  revolutionary  methods  of  Claude  Monet, 
Hassam  is  also  one  of  the  very  few  who  maintained  not  only 
the  spirit  but  the  letter,  the  technical  methods,  of  the  path- 
breaking  Frenchman.  Charles  H.  Caffin,  in  speaking  of  Hassam's 
method  of  painting  in  separate  points  or  dabs  of  color  which 
simulate  the  vibrancy  of  sunlight,  says  that  "his  earlier  efforts 
are  maiked  by  the  crudity  that  is  inseparable  from  experimen- 
tation; but  of  late  years  he  has  mastered  the  difficulties  of  the 
process,  and  his  pictures  now  present  a  unity  of  effect,  a  vi- 
brancy of  color  and  a  delicate  'esprit'  both  of  style  and  of  feel- 
ing that  render  them  almost  unique  in  American  art." 

Born  in  Boston  in  1859,  Childe  Hassam  was  a  pupil  of  Bou- 
langer  and  Lefebvre  in  Paris,  where  after  absorbing  what  aca- 
demicism had  to  give  him  he  affiliated  himself  with  the  newer 
movements.  His  career  has  been  brilliantly  successful,  marked 
with  many  official  rewards,  and  most  of  the  important  permanent 
galleries  of  this  country  contain  examples  of  his  work.  His 
work  as  a  mural  painter  may  be  studied  in  the  specimen  which 
decorates  one  of  the  arches  in  the  Court  of  Palms. 

Gari    Melchers 

It  has  been  related  of  Gari  Melchers  that  when  he  built 
the  studio  among  the  dunes  of  north  Holland,  where  so  much 
of  his  work  has  been  done,  he  wrote  over  the  doorway  the 
motto  "Wahr  und  Klar,"  or  "Clearness  and  Truth."  This  motto 
has  been  termed  by  Christian  Brinton  "The  battle-cry  of  the 
most  vigorous  and  salutary  manifestation  in  the  history  of 
nineteenth  century  ait,"  a  manifestation  in  which  this  American- 
born  painter  of  German  descent,  with  Dutch  and  French  affilia- 
tions, has  taken  a  distinguished  part.  "The  sane,  straightfor- 
ward naturalism  of  Melchers'  manner  brightened  as  it  is  by  the 
aurate  brilliancy  of  the  latter  day  palette,"  has  thoroughly  justi- 
fied the  motto  which  he  placed  over  his  door  long  ago,  an(f  is 
splendidly  illustrated  by  the  representative  collection  of  his 
works  brought  together  here,  in  Room  77.  To  quote  again  from 
Brinton's  illuminating  study  of  this  artist,  "Melchers  is  not  a 
subjective  or  an  imaginative  artist,  he  belongs  to  the  sturdy, 
positive  race  of  observers.  The  spirit  of  his  art,  as  well  as  its 
expression,  is  frankly  objective.  He  continues  that  tradition 
which  is  represented  with  such  impregnable  strength  and  se- 
curity by  some  of  the  foremost  painters  the  world  has  ever 
known— by  Hals  in  Holland  and  Holbein  in  Germany.  *  *  * 
Now  that  he  has  returned  (to  the  land  of  his  birth)  it  is  doubly 

49 


apparent  that  Gari  Melchers'  sojourn  abroad  has  splendidly 
served  its  purpose.  *  *  *  He  has  come  back  a  mature  artist 
bringing  to  a  new  country  the  lessons  taught  so  well  in  the  old. 
It  was  not  otheiwise  that  the  great  pioneers  of  the  past  were 
wont  to  do  when  Durer  wandered  homeward  from  Italy  or  Van 
Dyke  crossed  the  channel  to  England. ' 

Gari  Melchers  was  born  in  Detroit,  Michigan,  in  1860.  His 
pictures  are  in  most  of  the  great  collections  at  home  and  abroad 
and  his  career  has  been  a  uniform  series  of  honors  and  suc- 
cesses. 

John  S.  Sargent. 

The  work  of  a  man  beyond  all  question  the  most  celebrated 
and  conspicuous  portrait  painter  of  today,  but  whose  art  extends 
far  beyond  the  domains  of  its  most  popular  phase,  is  shown  in 
Room  No.  75, 

Of  American  parentage  and  lineage,  John  S.  Sargent  is, 
however,  in  most  respects  a  typical  cosmopolitan.  No  artist 
has  been  more  discussed  or  more  widely  known,  and  apart  from 
strictly  aitistic  considerations  and  despite  his  own  natural  reti- 
cence and  seclusiveness,  his  work  has  a  habit  of  being  much  in 
the  limelight.  In  this  room,  for  instance,  among  the  small  yet 
very  representative  group  of  paintings,  are  two  which  have 
special  notes  of  public  interest.  One  is  the  famous  Madam  Gau- 
treau  and  the  other  is  the  portrait  of  Henry  James.  The  first 
canvas  proved  a  veritable  storm  center  when  produced  not  long 
after  Sargent  left  the  studio  of  Carolus-Duran  in  Paris,  where  he 
served  his  apprenticeship.  Violently  denounced  and  quite  as  en- 
thusiastically praised,  but  refused  by  the  Salon,  this  picture 
might  be  termed  the  turning  point  of  Sargent's  career. 

He  never  parted  with  the  picture  and  it  comes,  together  with 
most  of  the  others  in  this  room,  from  his  own  studio.  The 
Henry  James  portrait  is  the  one  which  the  militant  suffragists 
slashed  in  London  a  year  or  so  ago. 

Preeminently  a  painter,  superbly  proficient,  in  the  rendering 
of  what  his  impersonal  and  detached  and  very  keen  observation 
selects,  Sargent  rarely  seems  to  reveal  a  spiritual  insight.  What 
Huysmans  said  of  his  writing  might  apply  to  Sargent  in  paint- 
ing: "I  record  what  I  see,  what  I  feel,  what  I  have  experienced, 
writing  it  as  well  as  I  can,  et  voila  tout!"  Except  that  Sar- 
gent leaves  out  what  he  feels.  Of  late  he  has  refused  to  continue 
portraiture  and  has  turned  to  landscape  painting  and  to  execut- 
ing groups  in  the  open  air  which,  while  they  are  of  actual  per- 
sons, are  not  primarily  portraits. 

John  Singer  Sargent  was  born  in  Florence,  Italy,  in  1856, 
His  parents  were  Bostonians.  As  a  young  man  he  studied  under 
Carolus-Duran  and  later  traveled  in  Spain  and  Holland,  where 
he  particularly  studied  painters  like  Velasquez  and  Hals.  After 
many  years  in  Paris  he  moved  to  London,  where  he  has  since 
resided,  frequently  visiting  the  United  States,  painting  and  ex- 
hibiting. The  Boston  Library  contains  remarkable  murals  by 
him.  The  list  of  his  honors  and  awards  and  of  the  collections 
where  he  is  represented  is  far  too  long  to  be  given  here. 

Arthur  Mathews. 

The  work  of  Arthur  Mathews,  the  leading  artist  and  most 
potent  influence  of  contemporary  western  art,  occupies  Room  76, 
in  which  are  also  shown  paintings  by  Francis  McComas. 

50 


Although  he  was  born  in  Wisconsin,  in  1860.  Arthur  Mathews 
came  early  in  life  to  San  Francisco,  was  educated  in  its  schools 
and,  save  for  the  period  of  study  in  the  Julian  Academy  under 
Boulanger  in  Paris,  from  1884  to  1889,  his  aitistic  career  has 
been  centered  in  this  city.  He  was  an  architect  before  he 
turned  to  painting,  a  circumstance  of  immense  value  to  him  in 
his  mural  decoration,  in  which  he  has  accomplished  some  of  the 
most  distinguished  work  of  today  in  the  United  States.  While 
studying  under  Boulanger  he  was  a  fellow  pupil  of  many  of  the 
Americans  who  are  now  leading  figures  in  our  art,  and  he  had 
the  rare  success  of  standing  number  one  in  drawing,  composi- 
tion and  painting,  and  of  winning  a  medal  granted  by  the  Studio 
only  once  in  ten  years.  He  was  for  many  years  director  of 
the  California  School  of  Design  and  developed  some  of  the  most 
promising  younger  artists  in  the  West. 

There  is  in  his  work  the  force  of  an  imagination  which  is 
at  once  symbolistic,  romantic,  and  intellectual — a  creative  en- 
ergy controlled  and  directed  by  fiim  thought  and  clothed  in  rich 
and  well-ordered  beauty  of  color.  The  present  exhibition  has 
proven  how  high  a  place  Arthur  Mathews  occupies  in  American 
art,  a  place  among  the  very  foremost. 

One  of  his  mural  paintings  is  in  the  Court  of  Palms.  As  a 
member  of  the  jury  his  work  was  placed  hors  concours. 

Francis  McComas. 

This  artist's  work  shares  Room  No.  76  with  that  of  Arthur 
Mathews.  He,  too,  is  a  member  of  the  jury,  and  hors  concours. 
Born  in  Australia,  Francis  McComas  has  settled  in  California, 
and  next  to  Mathews,  he  is  the  most  original,  powerful,  and  prom- 
ising of  Western  artists. 

A  certain  sense  of  quality — that  subtle,  inner  attribute  which 
is  so  hard  to  isolate  and  precisely  define,  but  which  is  invariably 
present  in  all  authentic  art,  no  matter  what  its  kind  may  be, 
distinguishes  this  painter's  very  remarkable  work.  Christian 
Brinton  termed  him  "the  Whistler  of  the  West,"  and  the  im- 
pression of  giving  only  the  quintessence  of  his  subject  which 
McComas'  pictures  produce  is,  indeed,  akin  to  the  selective 
genius  of  the  great  master,  although  the  spiritual  atmosphere 
which  is  the  lovely  envelope  of  Whistler's  work  is  not  present 
in  that  of  McComas.  which,  on  the  contrary,  is  definite  and  firm, 
at  times  even  to  hardness. 

The  paintings  in  this  room  are  the  result  of  a  recent  journey 
into  the  desert  country  of  Arizona  and  of  work  done  at  Monterey, 
where  McComas  has  his  studio.  Although  in  large  measure  self- 
taught,  McComas  studied  for  some  years  with  Arthur  Mathews. 
He  has  given  exhibitions  in  London  and  New  York  and  has 
painted  and  studied  in  many  lands. 

His  place  among  the  most  original  younger  men  in  America 
is  unquestioned.  Few  painters  in  oil  can  use  their  pigments 
with  more  strength  than  McComas  exerts  in  his  water-color 
medium. 

John  McClure  Hamilton. 

Room  39  is  devoted  to  the  pastel  drawings  of  John  McClure 
Hamilton,  a  number  of  his  oil  paintings  being  placed  in  Room  49. 

A  member  of  the  International  Jury  of  Awards,  and,  therefore, 
hors  concurs,  John  McClure  Hamilton  is  one  of  the  most  dis- 
tinguished of  contemporary  American  artists.    Born  in  Philadel^ 

51 


phia  in  1853,  he  studied  at  the  Pennsylvania  Academy  of  the  Fine 
Arts,  in  Antwerp,  and  Paris.  A  recipient  of  many  honors,  and 
represented  at  all  the  great  exhibitions  of  Europe  and  the  United 
States,  since  1878  he  has  lived  in  London.  He  has  painted  the 
portraits  of  many  eminent  people,  among  them  being  Gladstone. 
The  pastels  in  Room  39  have  been  a  special  attraction  of  the  ex- 
hibition, their  verve  and  charm  and  swift,  truthful  drawing  being 
most  remarkable. 

Joseph    Pennell. 

Room  No.  31  is  given  over  to  the  work  of  one  of  the  very 
foremost  of  living  artists  in  black  and  white — Joseph  Pennell. 
The  wide  range  of  his  subject  matter  is  indicated  by  the  titles 
of  the  various  groups  into  which  his  lithogranhs  and  etchings 
are  divided,  namely,  the  Panama  series,  the  New  York  series. 
Pittsb'irg  and  Cbicap'o  series.  San  Francisco,  Washington,  Yosem- 
ite.  Grand  Canyon,  Philadelphia,  Belgium,  English,  German,  Greek, 
Italian  London  in  War  Time,  and  others.  He  is  a  member  of 
the  jury,  and  hors  concours. 

Born  in  Philadelphia,  in  1860,  and  a  pupil  of  the  Pennsylvania 
Academy  of  the  Fine  Arts,  Pennell  has  for  many  years  held  a  place 
among  the  most  distinguished  draughtsmen  and  etchers  of  the 
day.  Most  of  the  principal  galleries  of  Europe,  the  Luxembourg. 
Paris;  the  Uffizi,  Florence,  and  others,  have  examples  of  his 
work.  As  president  of  the  Senefelder  Club,  London,  and  as  an 
enthusiastic  practitioner,  Pennell  has  of  late  been  spreading  the 
gospel  of  lithography.  A  world-wanderer  in  search  of  beauty, 
he  has  found  it  of  late  in  the  varied  aspects  of  modern  indus- 
try, phases  of  life  too  often  neglected  by  artists  insensitive  to 
the  appeal  of  their  own  environment.  Skyscrapers  and  huge 
derricks  and  cranes  assume  under  Pennell's  manipulation  a 
romantic  though  truthful  vestment  of  artistic  charm.  The  Pana- 
ma series  in  this  room  is  a  powerful  illustration  of  his  method 
and  his  success. 

Howard    Pyle 

Howard  Pyle  has  been  termed  "the  Father  of  Modern  Ameri- 
can Illustration,"  and  his  work  has  been  given  the  honor  of  sep- 
arate display  in  Rooms  Nos.  41  and  42,  black  and  white  designs 
in  the  first  and  his  color  work  in  the  second.  Both  lOoms  are 
high  in  popular  favor.  The  spirit  of  a  rich  romance  breathes 
from  these  nictures.  As  a  teacher  Pyle  has  been  probably  the 
most  formative  influence  in  America,  in  his  narticular  field.  He 
was  born  in  Wilmington,  Delaware,  in  1853,  and  received  his 
artistic  training  at  the  Art  Students  League,  New  York.  The 
present  exhibition  of  his  work  was  loaned  by  the  Wilmington 
Society  of  the  Fine  Arts.    He  died  in  Florence,  Italy,  in  1911. 

CHAPTER  VIII. 
Sculpture. 

Medals  of  Honor  were  awarded  to  three  sculptors.  Gold 
Medals  to  eight,  and  to  a  large  number  Silver  Medals  and  Hon- 
orable Mention  were  allotted. 

In  reporting  their  recommendations,  the  jury  took  occasion 
to  highly  compliment  the  Fine  Arts  Department  on  the  unique 
excellence  of  its  installation  of  sculpture,  which  is  mostly  dis- 


played  in  the  open  air  amid  living  greenery,  and  disposed  in 
situations  of  great  beauty.  The  jury  voiced  the  sentiments  of 
all  Exposition  visitors. 

The  three  sculptors  to  whom  highest  honors  were  given 
were  Karl  Bitter,  Daniel  Chester  French,  and  Herbert  Adams. 

As  in  the  case  of  the  painter,  John  W.  Alexander,  a  tragic 
ending  marked  the  official  granting  of  high  honor  to  Karl 
Bitter,  who  was  killed  in  an  automobile  accident  in  New  York 
after  the  jury  had  allotted  its  award.  He  was  not  only  an  ex- 
hibitor, but  was  Chief  of  Sculpture  in  the  Division  of  Works 
of  the  Exposition.  His  statue  of  Thomas  Jefferson  is  placed 
beneath  the  dome  in  front  of  the  entrance  to  the  Fine  Arts 
Palace.  Others  of  his  works,  including  the  Memorial  to  Dr. 
Henry  P.  Tappan,  the  "Signing  of  Louisiana  Purchase  Treaty," 
and  a  "Fountain  Group,"  lent  by  John  D.  Rockefeller,  are  in  Room 
No.  66 — which  is  the  large  hall  into  which  both  east  and  west  main 
entrances  open. 

Karl  Bitter  was  born  in  Vienna,  Austria,  in  1867.  His  early 
education  was  received  in  the  Academy  of  Fine  Arts  of  that 
city.  He  came  to  this  country  in  1889  and  his  home  has  since 
been  in  New  York.  For  many  years  he  has  been  recognized  as 
one  of  the  leading  sculptors  in  America. 

Daniel  Chester  French's  statue  of  Lincoln  is  under  one  of  the 
arches  of  the  dome  before  the  entrance.  His  Earl  Dodge  Me- 
morial is  also  under  the  dome.  The  Alice  Freeman  Palmer 
Memorial  is  placed  in  Room  66,  the  main  entrance  hall.  Daniel 
Chester  French  is  one  of  the  most  notable  of  modern  American 
sculptors.  Born  in  Exeter,  New  Hampshire,  in  1850,  he  is  a 
pupil  of  John  Quincy  Adams  Ward,  in  New  York,  and  of  Thomas 
Ball,  in  Florence,  Italy,  Many  of  his  works  are  patriotic  in 
theme,  such  as  "The  Minute  Man,"  at  Concord,  Massachusetts. 

Herbert  Adams  is  represented  by  four  statues.  His  large 
figure  of  Chief  Justice  Marshall  stands  at  the  north  end  of  the 
colonnade,  and  his  statue  of  William  Cullen  Bryant,  the  poet, 
is  placed  beneath  the  dome  before  the  entrance. 

Herbert  Adams  was  born  in  West  Concord,  Vermont,  in  1858, 
and  received  his  technical  training  at  the  Massachusetts  Normal 
Art  School  and  under  Mercie  in  Paris,  He  has  received  many 
official  honors.  Among  his  work  are  several  statues  and  bronze 
doors  for  the  Library  of  Congress,  Washington,  D.  C. 

The  winners  of  Gold  Medals  are  the  following:  Cyrus  E. 
Dallin,  James  E.  Eraser,  A.  Laessle,  Paul  Manship.  Bela  L.  Pratt, 
A.  Phimister  Proctor,  Arthur  Putnam,  and  Attillo  Piccirilli. 

Cyrus  E,  Dallin,  a  native  of  Utah,  born  1861,  and  educated 
in  France,  is  represented  by  a  large  number  of  works,  princi- 
pally Indian  subjects,  which  are  disposed  in  many  places  out- 
side and  inside  the  building, 

James  E,  Eraser,  born  in  Minnesota,  1876,  a  pupil  of  Fal- 
guiere  in  Paris,  shows  six  portrait  busts  and  studies.  His 
"Flora  and  Sonny  Whitney,"  in  Room  66,  is  a  charming  example 
of  his  style, 

Albert  Laessle,  a  Philadelphia  artist  of  the  younger  genera- 
tion, a  pupil  of  Charles  Grafly,  shows  a  large  number  of  ani- 
mal pieces  in  bronze,  a  striking  example  of  his  work,  in  which 
a  Japanese  influence  is  perceptible,  is  in  Room  66,  near  the 
main  entrance.     It  is  the  "Bronze  Turkey," 

Paul   Manship,   one  of  the  most   original   and   promising   of 

K3 


the  younger  school,  an  artist  who  is  one  of  the  many  who  are  re- 
turning to  remote  antiquity  for  suggestions,  is  represented  by 
ten  characteristic  examples,  placed  in  various  positions  within 
and  without  the  building.  Manship  received  a  large  part  of  his 
training  in  Rome  as  a  student  at  the  American  Academy,  hav- 
ing won  a  scholarship  which  gave  him  three  years'  study  at  that 
institution. 

Bela  Pratt,  born  and  trained  in  his  art  in  Connecticut,  as  a 
pupil  of  The  Yale  School  of  Fine  Arts,  and  later  a  student  in 
New  York  and  in  Paris,  has  several  of  his  many  works  placed 
out  of  doors.  His  two  reliefs  are  beneath  the  dome  before  the 
entrance.    His  "Whaleman"  is  on  the  north  shore  of  the  lagoon. 

A,  Phimister  Proctor  is  the  sculptor  of  the  gigantic  buffaloes 
which  so  notably  guard  the  approach  at  the  south  end  of  the 
colonnade.  Proctor  is  a  Canadian,  born  1862,  and  trained  in 
New  York  and  in  Paris.  Many  other  of  his  works  stand  in 
various  places. 

Arthur  Putnam,  the  Californian  sculptor,  an  artist  of  authen- 
tic originality,  shows  a  case  of  his  small  bronze  animal  pieces 
in  Room  No.   67. 

Attilio  Piccirilli.  born  in  Italy.  1866,  but  who  has  lived  in 
New  York  since  1888,  has  a  number  of  works  exhibited  in  the 
colonnade  and  elsewhere. 

Among  sculptors  who  were  placed  hors  concours  because 
they  were  members  of  the  jury,  or  for  other  reasons,  are  Paul 
W.  Bartlett.  whose  "Lafayette"  stands  in  the  central  position 
under  the  dome,  and  Charles  Grafly,  whose  "Pioneer  Mother" 
stands  between  the  dome  and  the  entrance.  This  statue  will 
be  the  sculptural  souvenir  of  the  Exposition,  as  it  is  to  stand 
in  San  Francisco's  civic  center,  the  gift  of  the  women  of  the 
West. 

One  of  the  very  notable  sculptures  exhibited  is  the  Augustus 
Saint  Gaudens  "Seated  Lincoln"  which  is  placed  near  the  south 
end  of  the  colonnade.  Adolph  Alexander  Weinman,  a  member  of 
the  jury,  shows  two  studies  of  Lincoln,  and  other  characteristic 
works.  Other  jurymen  whose  works  are  exhibited  are  Haig 
Patigian  and  Joseph  J.  Mora,  both  of  whom  are  Californians. 
A.  Stirling  Calder,  Assistant  and  Acting  Chief  of  Sculpture  shows 
five  examples  of  his  vigorous  modelling.  "The  Fountain  of  Energy," 
near  the  Scott-street  entrance,  is  his  creation.  Robert  Aitken. 
a  San  Franciscan  whose  fountain  in  the  Court  of  Abundance  has 
attracted  especial  attention,  is  one  of  the  winners  of  a  Silver 
Medal.  Aitken  is  a  man  of  high  and  serious  ambitions,  in  whose 
work  there  can  be  felt  vigor  and  force  allied  to  a  native 
originality. 

Space  is  lacking  for  the  adequate  enumeration  of  the  other 
Silver  Medalists  and  notable  works;  but  the  small  figures  of 
Paul  Troubetzkoy.  Room  No.  108,  should  by  no  means  be  over- 
looked. 

CHAPTER     IX. 

Prints. 

It  is  the  common  opinion  of  all  competent  judges  that  the 
prints  department  of  the  Fine  Arts  has  assembled  by  far  the 
most  notable  exhibition  ever  held  in  this  country.  Coincident 
with   a  revival  of  public  interest  in  etchings,  lithographs,  and 

54 


other  forms  of  modern  graphics,  there  is  a  remarkable  recru- 
descence of  artistic  ability  along  these  lines  in  the  United 
States,  and  the  present  exhibition  is  a  striking  proof  both  of 
the   interest  of  the   public  and  the  ability  of   the  artists. 

A  great  many  of  the  visitors  are  buying  copies  of  the 
various  prints,  showing  that  the  appeal  of  a  form  of  art  which 
is  at  once  within  the  means  of  most  people  and  at  the  same 
time  of  high  merit  is  not  being  made  in  vain. 

The  Grand  Prize  was  awarded  to  the  famous  engiaver,  Henry 
Wolf.  His  work  is  grouped  in  Room  No.  30,  where  considerably 
over  a  hundred  of  his  splendid  prints  are  brought  together. 
Born  in  Alsace  in  1852,  and  a  pupil  of  Jacques  Levy  in  Stras- 
burg,  Henry  Wolf  came  to  this  country  in  1871.  His  present 
high  honor  comes  as  a  climax  of  a  long  series  of  official  awards 
for  wood  engraving. 

The  Medals  of  Honor  were  awarded  to  C.  Harry  White  and 
D.  A.  Wehrschmidt.  The  Gold  Medals  were  awarded  to  Allen 
Lewis,  D.  Shaw  MacLaughlin,  J.  Andre  Smith,  Cadwallader 
Washburn,  Herman  A.  Webster,  and  Gustave  Baumann. 

Among  the  winners  of  Silver  Medals  were  three  Californians 
—Clark  Hobart,  Peiham  Nahl  and  Worth  Ryder. 

Room  No.  30  contains  the  first  etching  ever  made  in  America, 
Joseph  Wright's  portrait  of  Washington;  the  first  mezzotint, 
Peter  Pelham's  portrait  of  Cotton  Mather;  the  second  known 
American  lithograph,  by  Bass  Otis,  No.  1200;  the  first  color 
aquatint.  No.  697,  by  John  Hill,  and  a  large  number  of  ex- 
ceedingly interesting  historical  prints,  many  of  them  by  Paul 
Revere  (more  widely  known  for  his  exploits  as  a  midnight 
horseman).  These  works  are  displayed  in  cases  that  line  Wall 
D.  In  this  room  also  are  shown  the  best  works  of  the  etchers 
of  some  twenty  years  ago,  Thomas  Mbran,  Mary  Nimmo  Moran, 
Peter  Moran,  James  Smiley,  Charles  Piatt,  Stephen  Parrish; 
the  work  of  Robert  Blum  and  Alden  Weir  bridging  that  period 
and  today. 

The  contemporary  artists  are  exhibited  in  Rooms  Nos.  32, 
33,  34,  with  the  exception  of  that  of  Joseph  Pennell,  which  occu- 
pies a  separate  room.  No.  31,  and  is  spoken  of  in  connection 
with  the  other  individual  galleries. 

This  department  owes  its  distinctive  success  to  Robert  B. 
Harshe,  Assistant  Chief  of  the  Department  of  Fine  Arts,  who  is 
himself  an  etcher  of  distinction. 

CHAPTER    X. 
The   Foreign  Sections. 

The  following  foreign  nations  are  official  exhibitors  in  the 
Palace  of  Fine  Arts:  Argentina,  China,  Cuba,  France,  Italy, 
Japan,  The  Netherlands,  Portugal,  Sweden  and  Uruguay.  The 
Philippine  Islands  also  has  a  separate  section. 

There  is  also  what  is  termed  the  International  Section,  in 
which  aie  placed  works  by  artists  of  nations  which  did  not  gov- 
ernmentally  participate  in  this  Exposition.  Among  these  na- 
tions are  the  following:  Austria,  Hungary,  Germany,  Greece, 
Great  Britain,  Spain,  Chile  and  Russia,  or,  really,  Finland,  a 
part  of  Russia. 

This  International  Section  at  present  occupies  one  room,  No. 
108.     The  pictures  in  it  are  almost  all  by  German  artists.     The 

55 


large  and  exceedingly  important  number  of  paintings  from  Aus- 
tria, Hungary,  Spain,  Great  Britain,  and  other  foreign  nations 
— notably  Norway — are  to  be  exhibited  in  the  new  wing  of  the 
Fine  Arts  Building  soon  to  be  opened. 

It  will  be  well  to  mention  here  the  fact  that  France  did  not 
enter  its  pictures  in  competition  for  prizes,  following  its  usual  cus- 
tom at  expositions,  and  it  should  be  remembered  that  in  the  French 
Pavilion  there  is  a  gallery  of  veritable  masterpieces,  showing  the 
quintessence  of  French  art  from  1870  to  1900. 

ROOM    No.    108. 

The    International   Section. 

Two  of  the  winners  of  Medals  of  Honor  in  this  section, 
both  of  them  eminent  German  artists,  are  represented  in  this 
room.  Franz  von  Stuck,  one  of  the  best  known  contemporary 
names  in  Europe,  has  a  very  remarkable  painting  hanging  on 
Wall  A.  It  is  called  "Summer  Night."  Heinrich  von  Zugel 
has  a  splendid  cattle  piece  (No.  549)  on  Wall  C.  Other 
Gold  Medalists  whose  works  are  included  in  this  room  are  Curt 
Agathe  (No.  3),  Heinrich  Kniir,  a  "Self  Portrait"  (No.  293), 
and  Leo  Putz  (No.  387). 

As  stated  above,  this  room  is  but  a  very  small  portion  of 
the  International  Section,  in  which  have  been  awarded  a  large 
number  of  high  honors.  The  rest  of  the  section  is  displayed  in  the 
Annex.  (See  Chapter  XI.) 

Argentina. 

Room  No.  112  contains  the  paintings  and  sculptures  of  this 
country.  Antonio  Alice  won  the  Medal  of  Honor  in  paintings. 
He  is  represented  by  three  works,  numbered  1,  2  and  3.  No. 
2,  entitled  "Confession,"  a  very  small  work  full  of  intense  emo- 
tion and  beautifully  painted,  a  little  masterpiece  of  its  own 
school,  the  genre,  hangs  on  Wall  C. 

Gold  Medals  were  awarded  to  the  following  painters:  Gorge 
Bermudez,  Alejandro  Bustillo,  Ernesto  de  la  Carcova,  Fernando 
Fader,  Jose  Leon  Pagano,  Octavio  Pinto,  C.  Bernaldo  de  Quiros, 
and  Eduardo  Sivori. 

Among  the  sculptors  Pedro  Briano  Zonza  was  given  the  Medal 
of  Honor  for  his  "Increase  and  Multiply,"  No.  75.  Alberto 
Lagos,  represented  by  three  works,  Nos.  32,  33  and  3"4,  was  given 
a  Gold  Medal. 

China. 

China's  exhibit  occupies  Rooms  94  to  97,  inclusive. 

It  comprises  a  very  large  number  of  works  of  a  highly  diver- 
sified character,  paintings  and  drawings  forming  only  a  small 
part  of  a  wealth  of  curious  and  exquisite  works  of  art  in  porce- 
lain, wood  and  bamboo,  lacquer  work,  precious  stones  and  mar- 
bles, strass  work,  carved  fruit  stones,  ivory  and  shell,  pith  paper 
and  straw,  embroidery  and  silk. 

In  paintings  a  Medal  of  Honor  was  awarded  to  Kiang  Ying- 
seng  for  his  "Hall  Picture:  Snow  Scene"  (No.  348),  and  Gold 
Medals  were  awarded  to  Su  Chen-lien  (No.  344),  representing 
the  flowers  of  four  seasons;  Kao  Ki-fong  (Nos.  363,  364),  and 
Miss  Schin  Ying-chin  for  her  "Folding  Screen:  Flowers  of  All 
Seasons"  (No.  367). 

Bfi 


Cuba. 

Cuba's  exhibit  is  in  Room  No.  20.  The  Medal  of  Honor  in  this 
section  was  awarded  to  Leopoldo  Romanach,  whose  group  of 
paintings  is  numbered  from  16  to  29.  A  Gold  Medal  was  given 
to  M.  Rodriguez  Morey,  Nos.  13,  14,  15.  Maria  Mantilla,  Nos. 
7,  8,  and  Amando  Maenocal,  Nos.  9,  10.  No.  9  is  the  huge 
painting  entitled  "Death  of  Meceo,"  an  episode  of  Cuba's  war 
of  independence,  rendered  with  vivid  realism. 

France. 

France's  exhibit  occupies  Rooms  11  to  18,  inclusive.  X^ere 
is  also  an  exhibit  of  a  retrospective  character,  and  of  exceed- 
ingly high  value,  in  the  French  Pavilion. 

Among  the  artists  of  the  most  considerable  consequence  who 
are  represented  are  the  following:  Degas  (No.  310),  a  master 
who  may  also  be  studied  in  the  retrospective  exhibit;  Gaston  La 
Touche,  Jean-Paul  Laurens,  Henri-Eugene  Le  Sidaner,  Henri- 
Jean-Guillaume  Martin,  Emile-Rene  Menard,  Luc-Olivier  Merson, 
Claude  Monet,  Rene-Xavier  Prinet,  Pierre-Auguste  Renoir,  Al- 
fred-Philippe Roll,  Lucien  Simon,  Jean  Veber,  and  Maurice  Denis. 
But  there  are  many  other  interesting  and  important  men  who 
are  not  generally  well  known. 

Room  No.  17  contains  the  work  of  one  of  the  most  important 
of  the  above  mentioned  group,  Alfred  Philippe  Roll,  a  grand  offi- 
cer of  the  Legion  of  Honor.  Roll's  pictures  are  numbered  481, 
482,  483,  484.  One  of  them  is  a  frightful  souvenir  of  the  present 
war:  "In  Belgium"  (No.  483).  That  veteran  master,  Jean-Paul 
Laurens,  under  whom  so  many  modern  Americans  have  studied, 
is  represented  by  a  very  strong  example  of  his  splendid  work 
in  No.  398  which  shows  a  peasant  youth  and  maiden  upon 
whom  the  spell  of  love  is  weaving  their  life's  romance.  Felix 
Valloton  has  an  interesting  portrait  group  (No.  512).  Le  Sidaner 
is  represented  by  No.  418,  his  other  picture,  "Le  Table"  (No. 
419)  being  in  Room  14.  The  latter  is  an  exceedingly  re- 
markable study  of  lamp-light  out  of  doors.  Another  of  the  big 
names,  that  of  Menard,  is  splendidly  illustrated  in  Room  No.  16 
by  two  most  satisfyingly  beautiful  pictures  (No.  444,  445).  Prinet, 
another  big  man,  has  a  portrait  group  (No.  472),  a  much  ad- 
mired picture  of  a  father  and  mother  and  daughter. 

Lucien  Simon,  one  of  the  foremost  men  of  modern  France,  is 
represented  by  three  strong  and  virile  canvases  (Nos.  493,  494, 
495) ;  the  second  of  these  is  entitled  "The  Communicants,"  a 
group  of  children  receiving  their  first  communion.  It  is  one  of 
the  most  artistic  examples  of  a  large  group  of  works  in  the 
French  section  which  deal  with  subjects  of  a  religious  nature. 
No  other  section  is  so  strongly  representative  of  this  interest 
which  for  centuries  was  the  sole  concern  of  the  art  of  painting 
in  Europe,  but  which  of  late  years  has  fallen  into  neglect. 
France,  however,  is  still,  in  art  as  in  life,  "the  eldest  daughter 
of  the  church." 

Monet  and  Degas,  those  veterans,  may  be  studied  in  Room 
13.  Monet's  picture  is  No.  452.  This  is  the  artist  who,  as  we 
had  occasion  to  say  when  in  Room  No.  61,  where  there 
is  a  large  group  of  his  works,  is  the  father  of  modern  impres- 
sionism. Degas  (No.  310)  is  one  of  those  singular  men  of 
geuius  who  devote  their  whole  lives  to  experiments  which  en- 

57 


large  the  domains  of  tlieir  art,  although  often  their  own  works 
fail.  He  is  one  of  the  masters  of  modern  realism,  and  his  suc- 
cesses are  more  numerous  than  his  failures.  In  this  room  there 
are  also  a  number  of  interesting  decorative  works  by  Maurice 
Denis. 

Italy. 

Italy's  notable  contribution  to  the  art  of  the  Exposition  is 
placed  in  Rooms  Nos.  21,  22,  23,  24  and  25. 

Room  No.  21  contains  the  work  of  the  three  principal  prize 
winners.  Ettore  Tito  was  awarded  the  Grand  Prize.  Medals 
of  Honor  were  granted  to  Onorato  Carlandi  and  Camillo  Inno- 
centi.  These  three  men,  together  with  Antonio  Mancini,  whose 
grouD  hangs  in  Room  22,  stand  among  the  very  foremost  of 
contemporary  Italian  artists.  Mancini  is  pre-eminent,  so  much 
so  that  his  work  was  placed  hors  concours.  for  he  has  already 
won  so  many  honors  that  he  may  well  afford  to  stand  to  one 
side  and  give  the  younger  men  a  fuller  opportunity. 

Ettore  Tito  is  represented  by  four  pictures,  which  occupy 
one  of  the  walls  in  Room  21  (Nos.  103,  104.  105,  106  and  107). 
Romanticism  and  realism  seem  to  mingle  in  almost  equal  pro- 
portions in  this  most  vigorous  and  splendidly  skillful  painter. 

Onorato  Carlandi  has  four  pictures  (Nos.  15.  16,  17,  18).  In- 
nocenti's  paintings  are  numbered  56,  57,  58,  59. 

Leonardo  Bazzaro,  one  of  the  winners  of  a  Gold  Medal,  is 
also  in  Room  No.  21,  with  a  single  picture,  "On  the  Diving 
Board"  (No.  4). 

The  othe^'  Gold  Medal  artists  are  as  follows:  Italico  Brass 
(No.  10)  in  Room  25;  Emma  Ciardi  (No.  30)  in  Room  25;  Guis- 
seppe  Ciardi  (No.  29)  in  Room  25:  Guglielmo  Ciardi  (Nos.  34, 
35)  in  Room  25;  Umberto  Coromaldi  (Nos.  31  and  32)  in  Room 
25;  Visconti  Adolfo  Ferraguiti  (No.  43)  in  Room  25;  Enrico 
Lionne  (Nos.  62  and  63)  in  Room  24;  Guisseppe  Mantessi  (No. 
71)  in  Room  25;  Plinio  Nomellini  (Nos.  82,  83)  in  Room  24; 
Ferruccio  S'cattola  (No.  99)   in  Room  25. 

The  sculpture  is  a  notable  feature  of  the  Italian  Exhibit,  and 
is  scattered  through  the  various  rooms,  Five  Gold  Medals  were 
awarded  as  well  as  lesser  honors.  These  five  are  the  following: 
Luigi  Amigoni  (No.  114),  "Adolescence";  Renato  Brozzi  (No. 
118),  "Medals,  Animals";  Artero  Dazzi  (No.  123),  "Portrait  of 
a  Lady";  Guisseppe  Graziosi  (No.  131),  "Susanna";  and  Antoni- 
etta  Pogliani  (No.  146),  "On  the  Beach." 

Besides  studying  a  splendid  collection  of  modem  work  in 
this  section,  the  visitor  should  take  advantage  of  the  classic 
treasures  displayed  in  the  Italian  Pavilion.  The  wonderful  ex- 
tent and  unbroken  continuity  of  Italian  art  is  well  illustrated  by 
these  two  exhibitions.  No  other  nation  has  anything  like  the 
ereatness  in  art  which  attaches  to  Italy,  and  the  present  show- 
ing of  this  modern  work  proves  that  its  vitality  is  far  from  being 
exhausted. 

Japan. 

The  Japanese  exhibit  is  disnlayed  in  the  southern  end  of  the 
building,  in  Rooms  1  to  10,  inclusive. 

This  section  contains  a  really  great  amount  of  varied  and  very 
beautiful  art,  and  it  also  furnishes  a  most  unusual  study  in  ar- 
tistic change,  or  development.  In  the  midst  of  the  marvelous 
work  of  old  .Japan — a  country  which,  isolated  from  all  the  world. 

58 


produced  an  ait  of  unique  charm  that  has  profoundly  affected 
the  Western  nations— there  is  one  room  which  shows  how  the 
artists  of  the  new  Japan  have  cut  loose  from  their  artistic  an- 
cestry and  are  patterning  themselves  after  Occidental  modes. 

Artists  of  the  older  school  have  been  granted  the  highest 
honors.  Medals  of  Honor  were  awarded  to  the  following:  Ran- 
shu  Dan  (No.  15),  "Moving  Clouds";  Toho  Hirose  (No.  21), 
"Spring  Rain";  Shoyen  Ikeda  (No.  13),  "The  Intermission"; 
Keisui  Ito  (No.  6),  "Sailing  Boats";  Tomota  Kobori  (No.  19), 
"Masatsura  Kusunoki  Rescuing  His  Drowning  Foes."  A  large 
number  of  Gold  and  Silver  Medals  were  also  awarded  in  this 
group  of  exquisite  work. 

In  the  group  of  work  in  the  Western  mode,  a  Silver  Medal 
was  awarded  to  Kinisuke  Shirataki  (No.  30),  "Portrait  of  Mr. 
Y.  Nomura,"  and  to  Eisaku  Wada  (No.  31),  "On  the  Seashore." 

Gold  Medals  were  awarded  to  the  sculptors,  Choun  Yamazaki 
(Nos.  41,  42),  Homei  Yoshida  (No.  57).  These  works  are 
carved  from  wood,  as  are  many  other  of  the  Japanese  sculp- 
tures. 

There  is  a  large  and  varied  showing  of  works  in  metal,  lac- 
quer, bamboo,  porcelain,  cloissone  and  other  materials.  There 
is  also  a  splendid  exhibit  of  retrospective  art.  The  handbook 
issued  by  the  Japanese  Commission  contains  an  excellent  chap- 
ter on  the  historical  art  represented  in  this  section.     . 

Portugal. 

The  Portugal  Section  are  in  Rooms  109,  110,  111. 

The  Grand  Prize  was  awarded  to  Jose  Malhoa,  who  has  eight 
canvases  hanging  in  Rooms  109  and  110.  They  are  numbered 
from  53  to  60,  inclusive.  They  are  all  vigorous,  realistic  and 
sympathetic  portrayals  of  the  life  of  his  own  country,  in  many 
aspects,  the  drunkard  at  the  fiesta  (No.  57),  the  prodigal  son 
twanging  the  guitar  to  his  light  o'  love,  or  the  ardent  devotion 
of  a  Catholic  procession  (No.  56). 

A  Medal  of  Honor  was  awarded  to  Jose  Veloso  Salgado,  whose 
paintings  are  numbered  from  125  to  130,  inclusive.  An  artist 
of  a  more  tranquil  vision  than  Malhoa,  Salgado  presents  pleas- 
ant, tranquil  aspects  of  seaside  and  rural  life. 

Gold  Medals  were  awarded  to  Artur  Alves  Cardoso,  whose 
group  is  numbered  from  24  to  31,  inclusive;  to  Ernesto  Ferreira 
Condeixa  (Nos.  37,  38),  and  to  Joao  Vaz  (Nos.  153,  154,  155). 

One  of  the  most  distinguished  of  modern  Portuguese  artists, 
Adrian  de  Sousa  Lopez,  exhibits  a  large  group  of  notable  works, 
placed  hors  concours  because  the  painter  is  Portugal's  Pine  Arts 
Commissioner. 

Philippine  Section. 

This  exhibit  is  placed  in  Room  No.  98. 

A  GQld  Medal  was  awarded  to  Felix  R.  Hildago,  who  has 
eleven  paintings,  some  of  them  of  very  large  size,  historical 
and  religious  in  subject,  while  the  smaller  ones  are  landscapes 
and  marines.  Born  in  Manila,  Hidalgo  received  his  training  in 
that  city  and  Madrid,  and  resides  in  Paris.  He  has  won  honors 
at  other  expositions  in  Madrid,  Paris,  Chicago  and  St.  Louis. 

Silver  Medals  were  awarded  to  Joaquin  M.  Herrer  (Nos.  8,  9), 
and  to  Fabian  de  la  Rosa  (Nos.  30,  31,  32,  33,  34).    . 

59 


Holland. 

The  exhibit  of  The  Netherlands  is  placed  in  Rooms  113  to 
116,  inclusive.     The  etchings  are  in  Room  115. 

The  Grand  Prize  was  awarded  to  G.  H,  Breitner,  whose  pic- 
ture, "Amsterdam  Timber-Port"  (No.  17),  hangs  in  Room  113  on 
Wall  A.  Breitner  occupies  a  prominent  place  among  the  group 
of  modern  landscape  and  figure  painters  of  Holland,  in  which 
group  Willem  Witsen,  Commissioner  of  Fine  Arts  to  this  Expo- 
sition, the  Maris  Brothers,  Anton  Mauve,  Israels,  are  leaders. 

The  Medal  of  Honor  in  this  section  was  awarded  to  M.  A.  J. 
Bauer,  whose  picture,  "Oriental  Equestrian"  (No.  7),  hangs  on 
Wall  D  of  Room  113. 

Gold  Medals  were  awarded  to  David  Bautz,  for  his  "Dead 
Birds"  (No.  8),  which  hangs  on  Wall  A  in  Room  114;  to  G.  W. 
Dysselhof,  for  his  "Lobsters"  (No.  27),  which  hangs  in  Room  113 
on  Wall  A;  to  A.  M.  Gorter,  for  his  "Autumnal  Day"  (No.  37), 
which  hangs  on  Wall  C  of  Room  113;  to  Johan  Hendrik  van 
Mastenbroek,  whose  "As  Busy  as  Bees  in  the  Harbor  at  Rot- 
terdam" (No.  60),  hangs  on  Wall  A  of  Room  114;  his  other 
picture,  "In  the  Lock  at  Delfshaven"  (No.  59),  hangs  on  Wall  C 
of  Room  113;  to  Albert  Roelofs,  whose  "Meditation"  (No.  75), 
hangs  on  Wall  C  of  Room  113;  to  Hobbe  Smith,  whose  "Old 
Woman  Reading  the  Bible"  (No.  88),  hangs  on  Wall  D  of  Room 
114;  and  to  W.  B.  Tholen,  for  his  "Church  near  Leider"  (No.  94), 
which  hangs  on  Wall  B,  Room  113. 

The  two  attractive  canvases  by  Commissioner  Willem  Wit- 
sen,  which  were  hors  concours,  hang  on  Wall  C,  Room  113.  They 
are  numbered  109,  110. 

Other  pictures  which  were  not  in  the  competition  are  those 
by  B.  J.  Blommers,  one  of  the  modern  masters  of  Holland  (Nos. 
13,  14),  on  Wall  D,  Room  113. 

Sweden. 

A  very  buoyant,  original,  creative  spirit  is  animating  the  art  of 
Sweden  at  the  present  time.  In  no  other  section  does  the  life-force 
throb  with  more  intensity.  No  other  section,  either,  seems  so 
impressed  with  the  evidences  of  its  national  origin  as  does  the 
Swedish.  Here  is  a  whole  group  of  artists  who,  no  matter 
where  they  may  have  received  their  training,  and  no  mat- 
ter by  what  exterior  influences  they  may  be  impressed, 
turn  everything  to  account  in  their  work  of  artistically  ex- 
pressing their  own  native  environment — a  lesson  which  Ameri- 
can painters  might  profitably  study.  The  Swedish  rooms  are 
Nos.  99  to  107,  inclusive. 

The  Grand  Prize  was  awarded  to  Bruno  Liljeefors,  whose  four 
large  pictures  of  bird  life  in  the  far  North  are  in  Room  No.  100. 
Lilijeefors,  like  Gustaf  Fjaestad,  resides  in  Stockholm,  and  has 
studied  in  France  and  Italy.  The  most  noticed  of  his  pictures 
is  the  huge  painting  of  wild  geese  in  flight  upon  a  stretch  of 
desolate  shore  on  which  turbulent  waves  are  threshing.  A  splen- 
did rhythm  expressed  by  the  line  of  birds  is  a  triumph  of  the 
pictorial  suggestion  of  motion. 

Fjaestad's  work  is  in  Room  107,  in  which  are  placed  a  large 
number  of  his  interpretations  of  snow,  water,  frost,  light  and 
darkness.  A  strange  sort  of  psychic  poetry,  commingled  with  an 
almost  Japanese  devotion  to  decorative  design,  emanates  from 

60 


these  strangely  beautiful  canvases.  To  him  was  awarded  a 
Medal  of  Honor. 

Gold  Medals  were  awarded  to  the  following:  Elsa  Backlund- 
Celsing,  whose  work  is  in  Room  105;  Wilhelm  Behm,  Room  103; 
Alfied  Bergstrom,  Room  103;  Oscar  Hullgren,  Rooms  103,  105; 
Gottfrid  Kallstenius,  Rooms  100,  104;  Helmer  Mas-Olle,  Room 
102;  Helmer  Osslund,  Room  102;  Emil  Osterman,  Room  106  (Por- 
trait of  King  Gustave  V);  Wilhelm  Smith,  Rooms  100,  103,  106; 
and  Axel  Torneman,  Rooms  100,  103. 

Anshelm  Schuetzberg,  Sweden's  Commissioner  of  Fine  Arts, 
and,  therefore,  hors  concours,  is  represented  by  a  group  of  notable 
paintings. 

To  Carl  Larsson,  whose  work  is  in  Room  101,  was  awarded  a 
Grand  Prize  for  watercolor,  and  to  John  Bauer,  whose  work  is  in 
Room  104,  a  Medal  of  Honor,  while  to  Oscar  Bergman  was  given 
a  Gold  Medal.  Bergman's  work  is  in  Room  101.  Much  of  the 
most  piquant  and  attractive  work  in  the  exhibition  of  Swedish 
art  may  be  found  in  these  watercolors,  many  of  which  deal 
with  the  racy  and  fantastic  folk  lore  of  that  far  northern  coun- 
try where  a  deep  spiritual  life  has  always  flourished,  at  times 
full  of  mysticism,  as  in  Swedenborg,  and  illuminating  art  and 
literature  with  its  undying  interest  and  significance. 

A  Gold  Medal  was  awarded  for  sculpture  to  Gottfrid  Larsson, 
and  one  to  Eric  Lindberg  for  medals. 

Uruguay. 

This  republic's  interesting  exhibit  is  in  Room  No.  19. 

Manuel  Rose,  an  artist  who  has  been  trained  in  France,  was 
awarded  a  Gold  Medal.  He  is  represented  by  six  paintings,  mod- 
ern in  technique  and  varied  in  subject  matter.  They  are  num- 
bered from  52  to  57,  inclusive. 

Silver  Medals  were  awarded  to  C.  de  Arzadun  (Nos.  1  to  8) ; 
to  Milo  Beretta  (Nos.  9  to  21) ;  to  Carlos  Castellano  (Nos.  24  to 
30;  to  Jose  Cuneo  (Nos.  32  to  41);  and  to  Domingo  Puig  (Nos. 
45  to  48).  The  bust  of  General  Artigas,  by  Jose  Belloni,  is  to  be 
presented  to  the  Pan-American  Union  at  the  conclusion  of  the  Ex- 
position. 

CHAPTER   XI. 
The  Annex  to  the  Fine  Arts  Palace:     Norwegian,  Austrian,  Hun- 
garian, Spanish,   English,  Finnish,  Italian,  Futurist,  Besnard. 

From  the  point  of  view  of  modernity,  the  new  building  erected 
to  house  the  works  collected  abroad  and  brought  here  after  the  out- 
break of  the  European  war — a  most  remarkable  enterprise  which 
reflects  special  credit  upon  Commissioner  J.  N.  Laurvik,  who,  as  a 
special  representative  of  the  Department  of  Fine  Arts,  carried  it 
through — is  the  most  interesting  portion  of  the  Fine  Arts  depart- 
ment. Here  are  brought  together  works  which  show  the  ferment  and 
the  most  extreme  examples  of  all  the  tendencies  in  contemporary  art 
abroad  which  witness  to  the  strength  and  directions  of  the  pe- 
riod of  storm  and  stress  through  which  art,  in  common  with  all 
other  branches  of  human  culture,  is  today  passing,  to  what 
unknown  ends  who  shall  say? 

The  principal  things  to  be  seen  in  this  new  building  are  the 
following: 

The  Hungarian  exhibit,  on  the  ground  floor. 

61 


The  Spanish  department,  on   the  ground  floor. 

The  Brangwyn  etchings,  on  the  ground  floor. 

The  Norwegian  exhibit,  on  the  top  floor,  including  the  Fritz 
Thaulow  room. 

The  English  exhibit,  on  the  upper  floor. 

The  Besnard  room,  on  the  upper  floor. 

The  room  devoted  to  the  Finnish  painter.  Axel  Gallen- 
Kalella. 

The  exhibit  of  paintings  and  sculpture  by  the  Italian 
Futurists. 

The  Hungarian   Exhibit. 

Entering  by  the  door  opposite  the  main  fine  aits  building, 
if  you  will  turn  to  your  left  you  will  find  in  the  first  room  the 
retrospective  section  of  the  very  notable  Hungarian  exhibition. 
The  two  next  rooms  on  the  same  side  of  the  building  as  the 
retrospective  gallery  contain  works  by  the  painters  of  the  Acad- 
emic schools  of  Hungary.  Leaving  the  third  of  these  you  turn 
to  your  right  and  enter  one  of  two  central  rooms  which  contain 
modern  works.  In  the  room  directly  opposite  the  retrospective 
room  are  the  ultra-modern  pictures,  and  communicating  with 
•this  room  are  two  others  which  contain  Hungarian  sculpture 
and  drawings  and  other  "graphics,"  etchings,  and  piints. 

In  a  smaller  room  opening  from  the  last  of  those  devoted 
to  Hungarian  graphics  are  paintings  by  two  Austrian  artists. 
One  is  John  Quincy  Adams,  a  lineal  descendant  of  the  famous 
American  statesman,  and  a  naturalized  citizen  of  Austria.  He 
is  the  winner  of  a  Gold  Medal  granted  for  the  work  shown  here, 
two  poi  traits,  one  being  of  his  wife.  Another  Austrian  artist, 
Horatio  Gaigher,  ex:hibits  in  this  room  two  interesting  portraits, 
one  of  Pope  Benedict  XV,  and  the  other  of  the  late  pope  Pius 
X,  both  made  from  life.  Mr.  Gaigher  has  been  granted  a 
Silver  Medal. 

Other  winners  of  high  honors  in  the  Austrian  and  Hungarian 
sections  are  the  following: 

Istvan  Csok,  Hungarian,  Gold  Medal,  who  exhibits  eight 
pictures  among  the  modern  works,  and  who  occupies  a  place 
of  the  utmost  importance  in  European  art  today. 

Lajos  Mark,  Hungarian,  Gold  Medal,  who  has  five  works  in 
the  modern  gallery.  Ede  Teles,  Hungarian,  Gold  Medal,  for 
sculpture. 

Janos  Vaszary,  Hungarian,  Gold  Medal,  who  exhibits  six 
canvases,  among  the  representative  moderns. 

The  winners  of  Silver  Medals  among  the  Hungarians  were 
as  follows:  Count  C.  Y.  Batthyanyi,  Gyula  Glatter,  Baron  F. 
Hatvany,  Oszkar  Glatz,  Pal  Javor,  B.  Karlovsky,  Ferencz  Lipoth, 
Baron  Mednyansky,  Geza  Vastagh,  and  Horatio  Gaigher,  an  Aus- 
trian. Silver  Medals  for  Sculpture  were  awarded  to  O.  Fulop 
Beck  and  Guyla  Muranyi,  Hungarians. 

SPANISH    SECTION 

There  are  three  rooms  devoted  to  paintings  from  Spain. 

The  Medal  of  Honor  award  was  granted  to  Elisee  Meifren. 
whose  large  land-and-seascape  occupies  nearly  all  of  one  of  the 
walls. 

Gold  Medals  were  won  by  three  Spaniards,  Carlos  Vasquez, 
Valentin  de  Zubiarre,  and  Conde  de  Aguiar. 

62 


Frank    Brangwyn  ,     -'    T: '.',»'   »* 

A    Medal    of   Honor   was    granted  ,tci  ,B^i:&;ij^;  BVaagwyii/tlii3 ' 
English  artist,  for  etchings.     Brangwyn  is  given  a  special  place 
in    a    room    on    the    ground    floor.      Eminent    as    mural    painter 
(his  work  may  be  seen  in  the  Court  of  Abundance),  Brangwyn 
is  also  one  of  the  leading  etchers  of  today. 

Norwegian  Section 

The  rooms  on  the  northern  side  of  the  upper  floor  are  de- 
voted to  the  remarkable  exhibition  sent  to  this  country  by  the 
artists  of  Norway. 

The  first  room  to  be  visited  should  be  the  one  in  the  north- 
east corner,  which  contains  works  of  the  academic  school, 
plus  more  modern  tendencies.  The  next  room  contains  modern 
work,  notably  that  of  Henrik  Lund  and  Edvard  Munch.  The 
next  is  given  over  to  Fritz  Thaulow,  the  famous  Norwegian 
master,  who  was,  of  course,  hors  concovrs.  Next  comes  another 
modern  room,  Halfdan  Strom  and  Christian  Krogh  pre-eminent 
(a  very  interesting  note  in  this  room  is  supplied  by  the  work 
of  a  Norwegian  son  of  the  French  innovator,  Gauguin,  Pola 
Gauguin),     The  next  is  the  Harald  S'ohlberg  gallery. 

To  the  last,  Harald  Sohlberg,  was  granted  a  Medal  of  Honor. 
The  large  nocturnal  landscape,  where  a  huge  ice  mountain 
looms  beneath  the  mystical  moonlight,  is  perhaps  the  most 
striking  of  Sohlberg's  tremendously  vital  work,  but  it  is  all 
highly  notable. 

To  Halfdan  Strom  was  awarded   a  Gold  Medal. 

Silver  Medals  were  granted  to  Edvard  Diriks.  Otto  Hennig, 
Christian  Krohg,  Henrik  Lund,  Sigmund  Sinding,  and  Marie 
Tannoe. 

For  work  in  Water  Color  a  Medal  of  Honor  was  granted  to 
Olaf  Lange,  a  Gold  Medal  to  Edvard  Munch,  and  Silver  Medals 
to  Kristofer  Ericksen   and  H.  Hammerback. 

English   Section 

Three  rooms  are  given  to  the  British  painters. 

Six  of  them  were  granted  Gold  Medals,  these  being:  George 
S'auter,  C.  W.  Simpson.  Harold  Knight,  Laura  Knight,  Harold 
Speed,  and  H.  Hughes  Stanton. 

Axel  Galien-Kalella 

To  Axel  Gallen-Kalella  was  granted  a  Medal  of  Honor.  He 
is  a  native  of  Finland,  and  one  of  the  most  interesting  and 
vital  of  modern  artists.  A  very  large  number  of  his  paintings, 
ranging  from  his  earliest  work  to  that  of  his  latest  phase,  are 
shown  in  a  special  gallery  on  the  top  floor. 

Italian   Futurists 

The  works  of  the  Italian  Futurists  are  shown  in  a  separate 
gallery  on  the  top  floor.  This  work  is  the  output  of  that  grouii 
of  artists  of  whom  Marenetti,  the  poet  and  pamphleteer,  is  the 
acknowledged  leader,  and  which  most  uncompromisingly  pur- 
sues the  strange  paths  of  this  newest  form  of  art.  To  those 
who  consider  the  subject  worth  studying  is  recommended 
a  very  comprehensive  study  by  J.  N.  Laurvik,  entitled  "Is 
It  Art:  Post-Impressionism,  Futurism,  Cubism?"  It  may  be 
said  that  the  men  of  these  schools,  at  least  of  Cubism  and  Fu- 

63 


,tiu"i^m,  4esire  to  break  clear  away  from  all  formal  and  tradi- 
!  tiGrtal:  iovms  0?  fart  ao.d*'to  create  entirely  new  expressions  of 
subjedtire  eino'tib<as. ,  That' they  do  not  succeed  appears  obvious, 
but  that  possibly  some  worth-while  form  of  the  use  of  color 
and  line  may  develop  from  this  desperate  experimenting,  who 
may  deny? 

Besnard 

In  a  separate  room  near  the  English  galleries  are  hung  a 
number  of  works  by  Albert  Besnard,  the  eminent  French  artist, 
head  of  the  French  school  in  Rome,  the  result  of  his  observa- 
tions in  India. 

Kokoschka 

The  pictures  of  Oskar  Kokoschka,  an  Austrian  artist  of  the 
ultra-modern  school,  are  in  the  room  at  the  southeastern  corner 
of  the  top  floor.  He  is  a  portrait  painter  who  is  the  subject 
of  much  controversy. 


FINAL    NOTE. 

In  order  to  obtain  more  than  a  superficial  acquaintance  with 
the  art  of  the  Exposition,  the  reader  of  this  sketch  of  some  of  its 
outstanding  features  is  earnestly  recommended  to  follow  up  this 
introduction  to  the  subject  with  a  systematic  and  thorough  course 
of  study. 

There  are  experienced  and  efficient  official  docents,  or  guides, 
attached  to  the  department,  who  are  pjepared  to  conduct  individ- 
uals or  parties  through  the  galleries.  These  docents  have  their 
offices  near  the  main  entrance  to  the  Fine  Arts  Palace. 

Concerning  the  literature  of  the  subject,  it  should  be  noted 
that  Robert  B.  Harshe,  the  Assistant  Chief  of  the  department, 
has  compiled  an  ample  bibliography  of  the  books  and  magazine 
articles  dealing  with  practically  all  phases  and  personalities  of 
modern  art.  This  "Reader's  Guide  to  Modern  Art"  is  for  sale 
at  the  entrance  to  the  Fine  Arts  Palace. 

The  jury  of  distinguished  artists  and  experts  representing  all 
the  nations  exhibiting  took  occasion,  when  submitting  their  re- 
port, to  declare  that  as  a  whole  this  exhibition  is  the  best  ever 
held  in  America,  and,  despite  the  fact  that  the  war  has  kept  away  a 
certain  number  of  foreign  works,  that  the  European  sections  are 
commendably  comprehensive;  also,  that  the  print  department  is 
far  superior  to  any  similar  exhibition  ever  held  in  the  United 
States,  and,  furthermore,  they  specially  praised  the  unique  out- 
door installation  of  the  sculpture. 

This  official  verdict  simply  confirms  the  public  judgment. 
Above  all  other  aspects  of  the  Exposition,  its  success  in  the  do- 
mains of  art  is  the  great  and  most  vitally  significant  fact,  and  it 
is  my  hope  that  this  little  book  will  be  of  service  in  disseminating 
its  fecund  influence. 


64 


A  READER'S  GUIDE 
TO  MODERN  ART 


ROBERT  B.  HARSHE,  Assistant  Chief  of  the  De- 
partment of  Fine  Arts  of  the  Panama-Pacific-  Interna- 
tional Exposition,  has  compiled  in  a  systematized  index  the 
accessible  bibliographical  material  dealing  with  modern  art 
and  artists.  ^  While  this  guide  was  put  together  primarily 
as  an  index  to  the  artists  represented  in  the  Palace  of  Fine 
Arts  at  the  Exposition  it  is  also  a  compact  review  of  mod- 
em art.  A  skeleton  outline  is  sketched  of  the  art  epochs  in 
each  country,  becoming  broader  and  more  detailed  as  the 
art  of  the  last  ten  years  is  reached.  ^  This  guide  is  indis- 
pensable to  all  libraries,  and  all  clubs  which  study  art.  It  is 
also  of  the  utmost  interest  and  value  to  lovers  of  art,  who 
wish  to  supplement  their  appreciation  with  a  fund  of  knowl- 
edge. It  will  be  particularly  useful  to  ail  those  who  are  now 
studying  the  great  exhibition  in  San  Francisco. 

PRICE  50  CENTS 


Published  byj  THE  WAHLGREEN  COMPANY,  Official 
Publishers  to  the    Panama  -  Pacific   International  Exposition 


■~" 

bpecial  Illustrated  Catalogue 

(Final  Edition) 

of  the 

Department  of  Fine  Arts 

Panama- Pacific  International  Exposition 

San  Francisco,  California 

-3 

1  'his    edition    contains    one   hundred 
carefully   selected  pictures   of   the 

principal  works   of  art,   both  paintings 

and   statuary,    in    the    Palace   of   Fine 

Arts,   including  examples   of  the  work 

of  the  prize  winners  and  the  great  art- 

ists of  all  the  various  international  sec- 

tions.    It  thus  constitutes  a  special  and 

exceptionally  valuable   souvenir   of   the 

greatest  art  exhibition  ever  held  in  the 

United  States. 

PRICE  ONE  DOLLAR 

Published  b3,  THE  WAHLGREEN  COMPANY.  Of^cial 

Publishers  to  the  Panama -Pacific  International  Exposition 

/  ^ 

Gaylamount 

Binder 
Gaylord  Bros- 


Inc. 


Stockton, 


Calif. 


T.M.Rea.USP**®*- 


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UNIVERSITY  OF  CALIFORNIA  LIBRARY 


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